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tSiift iHiiiasixte Hitttatute ^ttite 



TWELFTH NIGHT 



OR 



WHAT YOU WILL 



BY 



WILLIAM SHAKESPEARE 



FROM THE RIVERSIDE EDITION EDITED BY 
RICHARD GRANT WHITE 



WITH ADDITIONAL NOTES 
By HELEN GRAY CONE 




HOUGHTON, MIFFLIN AND COMPANY 

Boston : 4 Park Street ; New York : 85 Fifth Avenue 
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THE LIBRARY OF 

Two Co.-'iee KfcCBVEO 

JAN. 27 ^902 

COF^WQHT ENTRY 

CLM^S A. XXe. NO. 

COPY a. 






Copyright, 1883 and 1901, 
By HOUGHTON, MIFFLIN & .C0» 

All rights reserved. 



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T^ Riverside Press, Cambridge, Mass., U. S. A. 
Electrotyped and Printed by H. O. Houghton & Co. 



NOTE. 

The plan adopted in this edition is the same as that followed 
in As You Like It in this series, Number 93, and in Hamlet, 
Number 116. Mr. White's text and apparatus have been used, 
and the necessary additions enclosed in brackets. In the Sug- 
gestions/or Special Study, the intention has been to point out the 
o^, most profitable lines of investigation, and to assist the student in 
f^ forming a clear and consistent notion of the characters. 

The editor is indebted to Mr. Joseph H. Beale, Jr., for the 
suggestion in the Appendix of an arrangement of the play for 
amateurs. 



»J? 



V- 



INTRODUCTION. 

The story which furnishes the plot of this comedy is to be 
found in various degrees of development in the writings of 
various Italian and French novelists and dramatists of the six- 
teenth century. Of these a comedy called GV Ingannati (The 
Mistaken Ones), first printed in 1537, by an unknown author, is 
most like Twelfth Night, to which, indeed, it corresponds in plot 
almost point for point. Such knowledge, however, as Shake- 
speare had of GV Ingannati was, we may be sure, through some 
English translation, or some play founded upon it, which has 
been lost. The principal serious incidents of his own play he 
might have found in Apollonius and Silla, the second of a collec- 
tion of tales published by Barnaby Rich, in 1581 ; but from what- 
ever quarter he took these, there can be no doubt that he him- 
self added the inferior comic personages, and worked their doings 
up with those of their enamored superiors. Twelfth Night was 
first printed in the folio of 1623 ; but the contemporary diary of 
John Manningham, a student of the Middle Temple, in London, 
records its performance in the Temple hall on the 2d February, 
1601-2. As Meres does not mention it in 1598, we may be sure 
that it was written about 1599-1600. It is printed in the folio 
with a remarkable degree of correctness. There is little doubt 
as to any important passage in its text ; and none, I believe, has 
ever been expressed as to the authorship of any part of it. ' We 
feel the gentle touch of Shakespeare's gentlest hand in it, from 
the first scene to the last. As to the period of the action and 
the costume, there is a delightful uncertainty ; but in regard to 
other points, an equally delightful certainty. Whoever the Duke 
of Illyria or Sebastian of Mitylene may be, Toby Belch, Andrew 
Aguecheek, Malvolio, Fabian, and Maria are English men and 
women of Shakespeare's own day. As to them we may be sure ; 
and let the uncertain follow the certain. 



DRAMATIS PERSONS. 



Orsino, Buhe oflllyria. 

Sebastian, brother to Viola. 

Antonio, a sea captain, friend to 
Sebastian. 

A Sea Captain, friend to Viola. 

Valentine, ) gentlemen attending 

Curio, ( on the Duke. 

Sir Toby Belch, uncle to Oli- 
via. 

Sir Andrew Aguechbek. 



Malvolio, steward to Olivia. 
Fabian,- ) servants to 

Feste, a Clown, ) Olivia. 

Olivia. 

Viola. 

Maria, Olivia^s woman. 

Lords, Priests, Sailors, Officers, 
Musicians, and other Attendants. 



ScESE : A city in Illyria, and the sea-coast near it. 



TWELFTH NIGHT; 

OR, WHAT YOU WILL. 



ACT I. 

Scene I. Tlie Duke's palace. 

Enter Dukb, Cukio, and other Lords ; Musicians attending. 

Duke. If music be the food of love, play on ; 
Give me excess of it, that, surfeiting, 
The appetite may sicken, and so die. \M.ustc. 

That strain again ! it had a dying fall : 
O, it came o'er my ear like the sweet sound 
That breathes upon a bank of violets. 
Stealing and giving odour! \Mu8ic^ Enough; no 

more : 
'T is not so sweet now as it was before. 
O spirit of love ! how quick and fresh art thou, 

5. [sound. This is the reading of the folio of 1623. Pope 
altered it to " south," assuming that the south wind was meant. 
It is natural that the Duke should compare a strain of music to 
the sound of the breathing wind ; fragrance, an associated idea, 
thrusts itself in before the first thought has been completely 
expressed. The passage is really elliptical : — 

" Like the sweet sound 
[Of the wind] that breathes upon a bank of violets." 

The Duke is not comparing sound to fragrance (see Comus, 1. 555, 
and Shelley's Skylark, stanza xi.) ; he is enriching his first image. 
For Shakespeare's method see Hamlet^ Riverside Literature Se- 
ries, p. 80.] 



8 TWELFTH NIGHT; [Act I. 

That, notwithstanding thy capacity lo 

Keceiveth as the sea, nought enters there, 

Of what validity and pitch soe'er, 

But falls into abatement and low price, 

Even in a minute : so full of shapes is fancy 

That it alone is high fantastical. 

Cur. Will you go hunt, my lord ? 

Buke. What, Curio ? 

Cur. The hart. 

Duke. Why, so I do, the noblest that I have : 
O, when mine eyes did see Olivia first, 
Methought she purged the air of pestilence ! 20 

That instant was I turn'd into a hart ; 
And my desires, like fell and cruel hounds, 
E'er since pursue me. 

Enter Valentine. 
How now ! what news from her ? 

Val. So please my lord, I might not be admitted ; 
But from her handmaid do return this answer: 
The element itself, till seven years' heat. 
Shall not behold her face at ample view ; 
But, like a cloistress, she will veiled walk 
And water once a day her chamber round 
With eye-offending brine : all this to season 30 

A brother's dead love, which she would keep fresh 
And lasting in her sad remembrance. 

Duke. O, she that hath a heart of that fine frame 
To pay this debt of love but to a brother. 
How will she love, when the rich golden shaft 

14. [fancy = love.] 

26. [The element = the sky.] 

35. the rich golden shaft = Cupid's " best arrow " (Mid- 
summer Night's Dream, Act I., sc. i., 1. 170), fabled to be all of 
gold. 



Scene II.] OR, WHAT YOU WILL. 9 

Hath kill'd the flock of all affections else 

That live in her ; when liver, brain and heart, 

These sovereign thrones, are all supplied, and fill'd 

Her sweet perfections, with one self king ! 

Away before me to sweet beds of flowers : 40 

Love-thoughts lie rich when canopied with bowers. 

[Exeunt. 

Scene II. The sea-coast. 
Enter Viola, a Captain, and Sailors. 
Vio. What country, friends, is this ? 
Cap. This is lUyria, lady. 
Vio. And what should I do in Illyria ? 
My brother he is in Elysium. 

Perchance he is not drown'd : what think you, sail- 
ors? 
Cap. It is perchance that you yourself were saved. 
Vio. O my poor brother ! and so perchance may 

he be. 
Cap. True, madam : and, to comfort you with 
chance, 
Assure yourself, after our ship did split. 
When you and those poor number saved with you 10 
Hung on our driving boat, I saw your brother, 
Most provident in peril, bind himself. 
Courage and hope both teaching him the practice, 
To a strong mast that lived upon the sea ; 
Where, like Arion on the dolphin's back, 

37-40. [The phrase with one self king has the same relation 
to supplied as to filled. Some editors read (" Her sweet perfec- 
tions)." This alters the construction, placing perfections in appo- 
sition with thrones and the preceding nouns.] 

39. [self = same.] 

15. [like Arion. See Classical Dictionary.] 



10 TWELFTH NIGHT; [Act I. 

I saw him hold acquaintance with the waves 
So long as I could see. 

Vio. For saying so, there 's gold : 
Mine own escape unfoldeth to my hope, 
Whereto thy speech serves for authority, 20 

The like of him. Know'st thou this country? 

Cap. Ay, madam, well ; for I was bred and born 
Not three hours' travel from this very place. 

Vio. Who governs here ? 

Cap. A noble duke, in nature as in name. 

Vio. What is his name ? 

Cap. Orsino. 

Vio. Orsino ! I have heard my father name him : 
He was a bachelor then. 

Cap. And so is now, or was so very late ; 30 

For but a month ago I went from hence, 
And then 't was fresh in murmur, — as, you know 
What great ones do the less will prattle of, — 
That he did seek the love of fair Olivia. 

Vio. What's she? 

Cap. A virtuous maid, the daughter of a count 
That died some twelvemonth since, then leaving her 
In the protection of his son, her brother, 
Who shortly also died : for whose dear love, 
They say, she hath abjured the company 40 

And sight of men. 

Vio. O that I served that lady 

And might not be delivered to the world. 
Till I had made mine own occasion mellow. 
What my estate is ! 

Cap. That were hard to compass ; 

43. [Compare Love's Labour's Lost, Act IV., sc. ii., 1. 72 : 
" Upon the mellowing of occasion," i. e., when time is ripe.] 



Scene IL] OR, WHAT YOU WILL. 11 

Because she will admit no kind of suit, 
No, not the Duke's. 

Vio. There is a fair behaviour in thee, captain ; 
And though that nature with a beauteous wall 
Doth oft close in pollution, yet of thee 
I will believe thou hast a mind that suits 50 

With this thy fair and outward character. 
I prithee, and I '11 pay thee bounteously, 
Conceal me what I am, and be my aid 
For such disguise as haply shall become 
The form of my intent. I '11 serve this duke : 
Thou shalt present me as an eunuch to him : 
It may be worth thy pains ; for I can sing 
And speak to him in many sorts of music 
That will allow me very worth his service. 
What else may hap to time I will commit ; eo 

Only shape thou thy silence to my wit. 

Gap. Be you his eunuch, and your mute I '11 be : 
When my tongue blabs, then let mine eyes not see. 

Vio. I thank thee : lead me on. [Exeunt. 

51. [character. The word is here used, not in the most com- 
mon sense, but figuratively. What is the metaphor ? See Act 
v., sc. i., 1. 345.] 

53. [Conceal me what I am. Me is here what Dr. Abbott 
calls " the redundant object," the clause what I am being also 
objective. A construction similar in principle is found in lines 
4l2-4A ; but there the appositional clause what my estate is is nom- 
inative, as the passive form of the verb is used.] 

56. [We are to find later that Viola's plan has been altered 
in its details. She is presented to the Duke as a page, but not 
expressly as a singer. It is necessary that Shakespeare should 
give the songs of the play to Teste the jester ; and he neglects or 
dislikes to cancel the pleasing lines 57-59.] 



12 TWELFTH NIGHT; [Act L 

Scene III. Olivia's house. 
Enter Sm Toby Belch and Maria. 

Sir To. What a plague means my niece, to take 
the death of her brother thus ? I am sure care 's an 
enemy to life. 

Mar. By my troth, Sir Toby, you must come in 
earlier o' nights : your cousin, my lady, takes great 
exceptions to your ill hours. 

Sir To. Why, let her except, before excepted. 

Mar. Ay, but you must confine yourself within 
the modest limits of order. 9 

Sir To. Confine ! I '11 confine myself no finer than 
I am : these clothes are good enough to drink in ; and 
so be these boots too : an they be not, let them hang 
themselves in their own straps. 

Mar. That quaffing and drinking will undo you : 
I heard my lady talk of it yesterday ; and of a foolish 
knight that you brought in one night here to be her 
wooer. 

Sir To. Who, Sir Andrew Aguecheek ? 

Mar. Ay, he. 

Sir To. He 's as tall a man as any 's in Illyria. 20 

Mar. What 's that to the purpose ? 

Sir To. Why, he has three thousand ducats a 
year. 

Mar. Ay, but he '11 have but a year in all these 
ducats : he 's a very fool and a prodigal. 

Sir To. Fie, that you '11 say so ! he plays o' the 

5. [cousin. The term was loosely used by the Elizabeth- 
ans.] 

7. except, before excepted : a whimsical use of a law phrase. 
12. [an = if ; sometimes written " an if."] 
20. tall = able. 



Scene III.] OR, WHAT YOU WILL. 13 

viol-de-gamboys, and speaks three or four languages 
word for word without book, and hath all the good 
gifts of nature. 29 

Mar. He hath indeed, almost natural : for besides 
that he 's a fool, he 's a great quarreller ; and but that 
he hath the gift of a coward to allay the gust he hath 
in quarrelling, 't is thought among the prudent he 
would quickly have the gift of a grave. 

Sir To. By this hand, they are scoundrels and 
substractors that say so of him. Who are they ? 

Mar. They that add, moreover, he 's drunk nightly 
in your company. 38 

Sir To. With drinking healths to my niece : I '11 
drink to her as long as there is a passage in my throat 
and drink in Illyria : he 's a coward and a coystril 
that will not drink to my niece till his brains turn o' 
th' toe like a parish-top. What, wench ! Castiliano 
vulgo ! for here comes Sir Andrew Agueface. 
Enter Sir Andrew Aguechebk. 

Sir And. Sir Toby Belch ! how now, Sir Toby 
Belch ! 

Sir To. Sweet Sir Andrew ! 

27. viol-de-gamboys = viol-da-gamla (Ital.), a viol held 
between the legs, like the violoncello. 

30. [natural. Maria plays upon the word, which is sometimes 
a noun meaning " a foolish person." See As You Like It, Act I., 
so. ii., lines 52 and 57.] 

36. [substractors : a variation of " subtractors," with the 
sense of " detractors."] 

41. coystril. The base hangers-on of military men and ar- 
mies were called coystrils. 

43. parish-top. In Shakespeare's day it was a common cus- 
tom to have a large whipping-top for parish use. Castiliano 
vulgo. Probably Sir Toby's Italian for Castiliano volto = (put 
on) a Spanish face ; that is, a sober face. 



14 TWELFTH NIGHT- [Act I. 

Sir And. Bless you, fair shrew. 

Mar. And you too, sir. 

Sir To. Accost, Sir Andrew, accost. 50 

Sir And. Wliat 's that ? 

Sir To. My niece's chambermaid. 

Sir And. Good Mistress Accost, I desire better 
acquaintance. 

Mar. My name is Mary, sir. 

Sir And. Good Mistress Mary Accost, — 

Sir To. You mistake, knight : " accost " is front 
her, board her, woo her, assail her. 

Mar. Fare you well, gentlemen. 

Sir To. An thou let part so, Sir Andrew, would 
thou mights t never draw sword again. a 

Sir And. An you part so, mistress, I would I might 
never draw sword again. Fair lady, do you think you 
have fools in hand? 

Mar. Sir, I have not you by the hand. 

Sir And. Marry, but you shall have ; and here 's 
my hand. 

Mar. Now, sir, " thought is free : " I pray you, 
bring your hand to the butt'ry-bar and let it drink. 

48. [shrew. The tiny shrew-mouse, it was believed, was 
" deadly to other beasts if he bit them '^ (Florio's Worlde of 
Wordes, 1598) ; hence came the use of shrew to mean a sharp- 
tongued person, generally a woman. Sir Andrew uses the term 
carelessly, as equivalent to " damsel."] 

68. [thought is free : a familiar saying. For the applica- 
tion here, look back to line 63.] 

69. butt'ry-bar. The buttery was the room in great houses 
where meat and drink are dispensed to the household. [Maria 
puns on the word dry = thirsty. The implication is that Sir 
Andrew's hand is like that of a feeble old man. " A dry hand " 
is one of the signs of old age imputed by the Chief Justice to 
FalstafP, Henry IV., Pt. II., Act I., sc. ii., 1. 204.] 



Scene III.] OR, WHAT YOU WILL. 15 

Sir And. Wherefore, sweet-heart ? what 's your 
metaphor ? 71 

Mar. It 's dry, sir. 

Sir And. Why, I think so : I am not such an ass 
but I can keep my hand dry. But what 's your jest ? 

Mar. A dry jest, sir. 

Sir And. Are you full of them ? 

Mar. Ay, sir, I have them at my fingers' ends : 
marry, now I let go your hand, I am barren. [Exit. 

Sir To. O knight, thou lack'st a cup of canary : 
when did I see thee so put down ? so 

Sir And. Never in your life, I think ; unless you 
see canary put me down. Methinks sometimes I have 
no more wit than a Christian or an ordinary man has : 
but I am a great eater of beef, and I believe that does 
harm to my wit. 

Sir To. No question. 

Sir And. An I thought that, I 'd forswear it. I '11 
ride home to-morrow. Sir Toby. 

Sir To. Pourquoi^ my dear knight ? 89 

Sir And. W^hat is pourquoi f do or not do ? I 
would I had bestowed that time in the tongues that I 
have in fencing, dancing and bear-baiting : O, had 
I but followed the arts ! 

Sir To. Then hadst thou had an excellent head of 
hair. 

Sir And. Why, would that have mended my hair ? 

Sir To. Past question ; for thou seest it will not 
curl by nature. 

Sir And. But it becomes me well enough, does 't 
not ? 100 

Sir To. Excellent; it hangs like flax on a distaff. 

91. tongues — curl by nature. In some parts of England 
tongue and tong are pronounced alike. 



16 TWELFTH NIGHT ; [Act I. 

Sir And. Faith, I '11 home to-morrow, Sir Toby : 
your niece will not be seen ; or if she be, it 's four to 
one she '11 none of me : the count himself here hard 
by wooes her. 

Sir To. She '11 none o' th' count : she '11 not match 
above her degree, neither in estate, years, nor wit ; I 
have heard her swear 't. Tut, there 's life in 't, man. 

Sir And. I '11 stay a month longer. I am a fellow 
o' th' strangest mind i' th' world ; I delight in masques 
and revels sometimes altogether. m 

Sir To. Art thou good at these kickshawses, 
knight ? 

Sir And. As any man in lUyria, whatsoever he 
be, under the degree of my betters; and yet I will 
not compare with an old man. 

Sir To. What is thy excellence in a galliard, 
knight ? 

Sir And. Faith, I can cut a caper. 

Sir To. And I can cut the mutton to 't. 120 

Sir And. And I think I have the back-trick simply 
as strong as any man in Illyria. 

Sir To. Wherefore are these things hid ? where- 
fore have these gifts a curtain before 'em ? are they 
like to take dust, like Mistress Mall's picture? why 
dost thou not go to church in a galliard and come 
home in a coranto ? My very walk should be a jig. 
What dost thou mean ? Is it a world to hide virtues 
in ? I did think, by the excellent constitution of thy 
leg, it was form'd under the star of a galliard. 130 

104. [the count : Orsino is called indifferently " the Duke " 
and " the count."] 

117. galliard, coranto = lively dances. 

125. Mistress Mall : generic ; meaning only, young lady. 

130. [The meaning is made clearer in line 134. Compare 
Much Ado about Nothing, Act II., sc. i., 1. 349.] 



Scene IV.] OR, WHAT YOU WILL. 17 

Sir And. Ay, 't is strong, and it does indifferent 
well in a flame-colour'd stock. Shall we set about 
some revels ? 

Sir To. What shall we do else ? were we not born 
under Taurus ? 

Sir And. Taurus ! That 's sides and heart. 

Sir To. No, sir ; it is legs and thighs. Let me 
see thee caper : ha ! higher : ha, ha ! excellent ! 

\_Exeunt. 

Scene IV. The Duke's palace. 
Enter Valentine, and Viola in man's attire. 

Val. If the Duke continue these favours towards 
you, Cesario, you are like to be much advanced : he 
hath known you but three days, and already you are 
no stranger. 

Vio. You either fear his humour or my negligence, 
that you call in question the continuance of his love : 
is he inconstant, sir, in his favours ? 

Val. No, believe me. 

Vio. I thank you. Here comes the count. 
Enter Duke, Curio, and Attendants. 

Duke. Who saw Cesario, ho ? lo 

Vio. On your attendance, my lord ; here. 

Duke. [To Attend.^ Stand you a while aloof. — 
Cesario, 
Thou know'st no less but all ; I have unclasp'd 
To thee the book even of my secret soul : 
Therefore, good youth, address thy gait unto her ; 
Be not denied access ; stand at her doors, 

136. Taurus ! That 's sides, etc. The knight refers to the 
astrological notion that certain organs of the body were ruled by 
certain constellations. [Taurus was really supposed to have in- 
fluence over the neck and throat. Sir Andrew's mind is some- 
what vague ; and Sir Toby is here as elsewhere superior to fact.] 



18 TWELFTH NIGHT; [Act I. 

And tell them, there thy fixed foot shall grow 
Till thou have audience. 

Vio. Sure, my noble lord, 

If she be so abandon'd to her sorrow 
As it is spoke, she never will admit me. 20 

Duke. Be clamorous and leap all civil bounds 
Eather than make unprofited return. 

Vio. Say I do speak with her, my lord, what then ? 

Duhe. O, then unfold the passion of my love, 
Surprise her with discourse of my dear faith : 
It shall become thee well to act my woes ; 
She will attend it better in thy youth 
Than in a nuncio's of more grave aspect. 

Vio. I think not so, my lord. 

Duhe. Dear lad, believe it ; 

For they shall yet belie thy happy years, 30 

That say thou art a man : Diana's lip 
Is not more smooth and rubious ; thy small pipe 
Is as the maiden's organ, shrill in sound, 
And all is semblative a woman's part. 
I know thy constellation is right apt 
For this affair. Some four or five attend him ; 
All, if you will ; for I myself am best 
When least in company. Prosper well in this, 
And thou shalt live as freely as thy lord, 
To call his fortunes thine. 

28. [nuncio's. This is the folio reading. It presents a diffi- 
culty, as relating to youth, understood ; a graver nuncio would 
probably have passed his youth. The 's is therefore generally 
dropped by editors, aspect must be accented on the second 
syllable, as in Merchant of Venice, Act I., sc. i., 1. 54.] 

33. [shrill in sound. Mr. White's reading. The folio has 
"shrill and sound," which seems acceptable, sound meaning 
" pure, uncracked."] 

34. [semblative = resembling ; part has the dramatic sense.] 

35. [See sc. iii., lines 130, 134.] 



Scene v.] OR, WHAT YOU WILL. 19 

Vio. I '11 do my best 40 

To woo your lady : [Aside] yet, a barful strife ! 
Whoe'er I woo, myself would be his wife. iExeunt. 

Scene V. Olivia's house. 
Enter Makia and Clown. 

Mar. Nay, either tell me where thou hast been, or 
I will not open my lips so wide as a bristle may enter 
in way of thy excuse : my lady will hang thee for thy 
absence. 

Clo. Let her hang me : he that is well hang'd in 
this world needs to fear no colours. 

]}£ar. Make that good. 

Clo. He shall see none to fear. 

Mar. A good lenten answer : I can tell thee where 
that saying was born, of " I fear no colours." 10 

Clo. Where, good Mistress Mary ? 

Mar. In the wars ; and that may you be bold to 
say in your foolery. 

Clo. Well, God give them wisdom that have it ; 
and those that are fools, let them use their talents. 

Mar. Yet you will be hang'd for being so long 
absent ; or, to be turn'd away, is not that as good as 
a hanging to you ? 

Clo. Many a good hanging prevents a bad mar- 
riage ; and, for turning away, let summer bear it out. 

Mar. You are resolute, then ? 21 

41. [barful = creating a bar, or hindrance. " My inward 
struggle makes it hard to keep my promise."] 

6. fear no colours: that is, probably, no enemy ; the phrase 
being of martial origin. 

9. [lenten = spare, scanty.] 

20. let summer, etc. : he could make his way, if he were 
turned off in summer. [Possibly Feste's meaning is less practi- 
cal : " Let coming time prove the truth of what you say."] 



20 TWELFTH NIGHT; [Act I. 

Clo. Not so, neither ; but I am resolved on two 
points. 

Mar. That if one break, the other will hold ; or, if 
both break, your gaskins fall. 

Clo. Apt, in good faith ; very apt. Well, go thy 
way ; if Sir Toby would leave drinking, thou wert as 
witty a piece of Eve's flesh as any in Illyria. 28 

Mar. Peace, you rogue, no more o' that. Here 
comes my lady : make your excuse wisely, you were 
best. i^^ii- 

Clo. Wit, an 't be thy will, put me into good fool- 
ing ! Those wits, that think they have thee, do very 
oft prove fools ; and I, that am sure I lack thee, may 
pass for a wise man : for what says Quinapalus ? 
" Better a wdtty fool than a foolish wit." 
Enter Lady Olivia with Malvolio. 
God bless thee, lady ! 

Oli. Take the fool away. 

Clo. Do you not hear, fellows ? Take away the 
lady. 40 

Oli. Go to, y' are a dry fool ; I '11 no more of you : 
besides, you grow dishonest. 

Clo. Two faults, madonna, that drink and good 
counsel will amend : for give the dry fool drink, then 
is the fool not dry : bid the dishonest man mend 
himself ; if he mend, he is no longer dishonest ; if he 
cannot, let the botcher mend him. Any thing that 's 
mended is but patch'd : virtue that transgresses is but 
patch 'd with sin ; and sin that amends is but patch'd 
with virtue. If that this simple syllogism will serve, 

24. if one break, etc. Maria quibbles : the strings that tied 
the gaskins, or loose breeches, to the doublet were called points. 

35. Quinapalus. Who this sage was, is known only to 
Feste. 



Scene v.] OR, WHAT YOU WILL. 21 

so ; if it will not, what remedy ? As there is no true 
cuckold but calamity, so beauty 's a flower. The lady 
bade take away the fool ; therefore, I say again, take 
her away. 54 

Oli. Sir, I bade them take away you. 

Clo. Misprision in the highest degree ! Lady, 
cucullus nonfacit monachum ; that 's as much to say 
as I wear not motley in my brain. Good madonna, 
give me leave to prove you a fool. 

Oli. Can you do it ? 60 

Clo. Dexteriously, good madonna. 

Oli. Make your proof. 

Clo. I must catechise you for it, madonna : good 
my mouse of virtue, answer me. 

Oli. Well, sir, for want of other idleness, I '11 bide 
your proof. 

Clo. Good madonna, why mourn'st thou ? 

Oli. Good fool, for my brother's death. 

Clo. I think his soul is in hell, madonna. 

Oli. I know his soul is in heaven, fool. 70 

Clo. The more fool, madonna, to mourn for your 
brother's soul being in heaven. Take away the fool, 
gentlemen. 

Oli. What think you of this fool, Malvolio ? doth 
he not mend ? 

Mai. Yes, and shall do till the pangs of death 
shake him : infirmity, that decays the wise, doth ever 
make the better fool. 78 

Clo. God send you, sir, a speedy infirmity, for the 
better increasing your folly ! Sir Toby will be sworn 

06. Misprision = misapprehension. 

57. cucullus non facit monachum : the cowl does not make 
the monk, [as much to say as = as much as to say that ; for 
which it is possibly a misprint.] 



22 TWELFTH NIGHT; [Act I. 

that I am no fox ; but he will not pass his word for 
two pence that you are no fool. 

Oli. How say you to that, Malvolio ? 

Mai. I marvel your ladyship takes delight in such 
a barren rascal : I saw him put down the other day 
with an ordinary fool that has no more brain than a 
stone. Look you now, he 's out of his guard already; 
unless you laugh and minister occasion to him, he is 
gagg'd. I protest, I take these wise men, that crow 
so at these set kind of fools, no better than the fools' 
zanies. 91 

Oli. O, you are sick of self-love, Malvolio, and 
taste with a distemper'd appetite. To be generous, 
guiltless and of free disposition, is to take those things 
for bird-bolts that you deem cannon-bullets : there is 
no slander in an allow 'd fool, though he do nothing 
but rail ; nor no railing in a known discreet man, 
though he do nothing but reprove. 

Clo, Now Mercury endure thee with leasing, for 
thou speakest well of fools ! 100 

Re-enter Maria. 

Mar. Madam, there is at the gate a young gentle- 
man much desires to speak with you. 

Oli. From the Count Orsino, is it ? 
Mar. I know not, madam : 't is a fair young man, 
and well attended. 

Oli. Who of my people hold him in delay ? 
Mar. Sir Toby, madam, your kinsman. 

90. fools' zanies = a sort of secondary or supplemental 
fools, that were the fools' butts, and subjects of practical jokes. 
The circus ring shows a survival of them. 

99. leasing = lying ; that she might stop at nothing. [Mer- 
cury, that " sly chameleon spirit," as Shelley calls him, was the 
very prince of liars.] 



Scene v.] OR, WHAT YOU WILL. 23 

Oil. Fetch him off, I pray you ; he speaks nothing 
but madman : fie on him ! [^Exit Maria.^ Go you, 
Malvolio : if it be a suit from the count, I am sick, 
or not at home ; what you will, to dismiss it. [^£Jxit 
Malvolio.^ Now you see, sir, how your fooling grows 
old, and people dislike it. 113 

Clo. Thou hast spoke for us, madonna, as if thy 
eldest son should be a fool ; whose skull Jove cram 
with brains ! for, — here he comes, — one of thy kin 
has a most weak pia mater. 

Enter SiR Toby. 

Oli. By mine honour, half drunk. What is he at 
the gate, cousin ? 

Sir To. A gentleman. 120 

Oli. A gentleman ! what gentleman ? 

Sir To, 'T is a gentleman here — a plague o' these 
pickle-herring ! How now, sot ! 

Clo. Good Sir Toby ! 

Oli. Cousin, cousin, how have you come so early 
by this lethargy ? 

Sir To. Lechery ! I defy lechery. There 's one 
at the gate. 

Oli. Ay, marry, what is he ? 129 

Sir To. Let him be the Devil, an he will, I care 
not : give me faith, say I. Well, it 's all one. [Exit. 

Oli. What 's a drunken man like, fool ? 

Clo. Like a drown' d man, a fool and a madman : 
one draught above heat makes him a fool ; the second 
mads him ; and a third drowns him. 

108. [speaks nothing but madman = speaks invariably as 
a madman. Compare Othello, Act II., sc. iii., 1. 281 : " Drunk ? 
and speak parrot ? "] 

117. [pia mater. The membrane covering the brain is here 
put for the brain itself.] 



24 TWELFTH NIGHT; [Act I. 

OIL Go thou and seek the crowner, and let him sit 
o' my coz ; for he 's in the third degree of drink, he 's 
drown'd : go, look after him. i38 

Clo. He is but mad yet, madonna ; and the fool 
shall look to the madman. [Exit. 

Be-enter Malvolio. 

Mai. Madam, yond young fellow swears he will 
speak with you. I told him you were sick ; he takes 
on him to understand so much, and therefore comes 
to speak with you. I told him you were asleep ; he 
seems to have a foreknowledge of that too, and there- 
fore comes to speak with you. What is to be said to 
him, lady ? he 's fortified against any denial. 

Oli. Tell him he shall not speak with me. 

Mai. Has been told so ; and he says, he '11 stand 
at your door like a sheriff's post, and be the supporter 
to a bench, but he '11 speak with you. i5i 

Oli. What kind o' man is he ? 

Mai. Why, of mankind. 

Oli. What manner of man ? 

Mai. Of very ill manner ; he '11 speak with you, 
will you or no. 

Oli. Of what personage and years is he ? 

Mai. Not yet old enough for a man, nor young 
enough for a boy ; as a squash is before 't is a peas- 
cod, or a codling when 't is almost an apple: 'tis 

136. [crowner : the Shakespearian form of " coroner. " See 
Hamlet, Act. V., sc. i.] 

149. [Has been told so. This is the common Elizabethan 
ellipsis of the nominative. Where should we find the same 
usage at the present day ?] 

150. sheriff's post. A pair of painted posts stood of old 
before a sheriff's door as a sign, 

159. squash = the immature peascod. 



Scene v.] OR, WHAT YOU WILL. 25 

with him in standing water, between boy and man. 
He is very well-favour'd and he speaks very shrew- 
ishly ; one would think his mother's milk were scarce 
out of him. 164 

on. Let him approach : call in my gentlewoman. 

Mai. Gentlewoman, my lady calls. [Exit. 

Be-enter Maria. 

Oli. Give me my veil : come, throw it o'er my face. 
We '11 once more hear Orsino's embassy. 

Enter Viola. 

Vio. The honourable lady of the house, which is 
she ? 170 

Oli. Speak to me ; I shall answer for her. Your 
will? 

Vio. Most radiant, exquisite and unmatchable 
beauty, — - 1 pray you, tell me if this be the lady of 
the house, for I never saw her : I would be loath to 
cast away my speech, for besides that it is excellently 
well penn'd, I have taken great pains to con it. 
Good beauties, let me sustain no scorn ; I am very 
comptible, even to the least sinister usage. 

Oli. Whence came you, sir ? iso 

Vio. I can say little more than I have studied, and 
that question 's out of my part. Good gentle one, 
give me modest assurance if you be the lady of the 
house, that I may proceed in my speech. 

Oli. Are you a comedian ? 

Vio. No, my profound heart : and yet, by the very 
fangs of malice I swear, I am not that I play. Are 
you the lady of the house ? 

162. [-well-favour'd = good-looking. Favour = appear- 
ance.] 

179. comptible = responsive, sensitive, sinister == left- 
handed, forbidding, unkind. 



26 TWELFTH NIGHT ^ [Act I. 

Oli. If I do not usurp myself, I am. i89 

Vio. Most certain, if you are she, you do usurp 
yourself ; for what is yours to bestow is not yours to 
reserve. But this is from my commission : I will on 
with my speech in your praise, and then show you the 
heart of my message. 

Oli. Come to what is important in 't : I forgive 
you the praise. 

Vio. Alas, I took great pains to study it, and 't is 
poetical. i98 

Oli. It is the more like to be feigned : I pray you, 
keep it in. I heard you were saucy at my gates, and 
allow'd your approach rather to wonder at you than 
to hear you. If you be not mad, be gone ; if you 
have reason, be brief : 't is not that time of moon with 
me to make one in so skipping a dialogue. 

Mar. Will you hoist sail, sir ? here lies your way. 

Vio. No, good swabber ; I am to hull here a little 
longer. Some mollification for your giant, sweet lady. 
Tell me your mind : I am a messenger. 208 

Oli. Sure, you have some hideous matter to deliver, 
when the courtesy of it is so fearful. Speak your 
office. 

Vio. It alone concerns your ear. I bring no over- 
ture of war, no taxation of homage : I hold the olive 
in my hand ; my words are as full of peace as matter. 

206. hull = lie still, but not at anchor. [Viola continues, in a 
mocking tone, Maria's seaman-like metaphor.] 

207. [your giant. The part of Maria was doubtless first 
presented by a person of small stature ; hence this ironical ap- 
peal.] 

208. [Tell me your mind. Warburton suggested that this 
brief sentence was meant to be uttered by Olivia, — a hypothesis 
which makes the passage intelligible.] 

213. taxation = exaction, censorious requirement. 



Scene v.] OR, WHAT YOU WILL. 27 

Oli. Yet you began rudely. What are you ? what 
would you ? 

Vio. The rudeness that hath appear'd in me have 
I learn'd from my entertainment. What I am, and 
what I would, are as secret as maidenhead ; to your 
ears, divinity, to any other's profanation. 220 

Oli, Give us the place alone : we will hear this di- 
vinity. [Exit Maria.~\ Now, sir, what is your text? 

Vio. Most sweet lady, — 

Oli. A comfortable doctrine, and much may be 
said of it. Where lies your text ? 

Vio. In Orsino's bosom. 

Oli. In his bosom ! In what chapter of his 

bosom ? 228 

Vio. To answer by the method, in the first of his 
heart. 

Oli. O, I have read it : it is heresy. Have you 
no more to say ? 

Vio. Good madam, let me see your face. 

Oli. Have you any commission from your lord to 
negotiate with my face ? You are now out of your 
text : but we will draw the curtain and show you the 
picture. Look you, sir, such a one I was this pre- 
sent : is 't not well done ? {Unveiling. 

Vio. Excellently done, if God did all. 239 

Oli. 'T is in grain, sir ; 't will endure wind and 
weather. 

220. [divinity. Viola had used the word in the sense of 
" something sacred." Olivia plays upon it, giving it the more 
usual meaning, "religious doctrine."] 

237. this present = but now. [The text here is possibly cor- 
rupt. Singer suggested, " Such a one I was, as this presents," 
— the conventional remark of a person showing a portrait : 
" This is what I used to look like."] 

240. [in grain = dyed of a fast colour. Grain was at first 



28 TWELFTH NIGHT ^ [Act I. 

Vio. 'T is beauty truly blent, whose red and white 
Nature's own sweet and cunning hand laid on : 
Lady, you are the cruell'st she alive, 
If you will lead these graces to the grave 
And leave the world no copy. 246 

OIL O, sir, I will not be so hard-hearted ; I will 
give out divers schedules of my beauty : it shall be 
inventoried, and every particle and utensil labell'd to 
my will : as, item, two lips, indifferent red ; item, two 
grey eyes, with lids to them ; item, one neck, one 
chin, and so forth. Were you sent hither to praise 
me? 

Vio. I see you what you are, you are too proud ; 
But, if you were the devil, you are fair. 
My lord and master loves you : O, such love 
Could be but recompensed, though you were crown'd 
The nonpareil of beauty ! 

Oil, How does he love me ? 

Vio. With adorations, fertile tears, 
With groans that thunder love, with sighs of fire. 260 

Oil. Your lord does know my mind ; I cannot love 
him ; 
Yet I suppose him virtuous, know him noble, 

used for a scarlet or purple dye, made from the granular bodies 
of certain small insects ; later' it came to mean simply " dye " 
or " colour." See Comus, 1. 750, and II Penseroso, 1. 33.] 

259. [Pope read, " with fertile tears," — a change which seems 
required, not only for the music of the verse, but for the balance 
of the construction. Notice that adorations has here five sylla- 
bles, just as perfections has four in 1. 300. For Shakespeare's 
metrical method, — a highly interesting subject, — see Notes on 
Shakspere's Versification, by George H. Browne (Ginn & Co.), and 
Abbott's Shakespearian Grammar (Macmillan Co.). A summary 
by the present editor may be found in the introduction to The 
Merchant of Venice, Star Series (Globe School Book Co.).] 



Scene v.] OR, WHAT YOU WILL. 29 

Of great estate, of fresh and stainless youth ; 

In voices well divulged, free, learn'd and valiant ; 

And in dimension and the shape of nature 

A gracious person : but yet I cannot love him ; 

He might have took his answer long ago. 

Vio. If I did love you in my master's flame, 
With such a suffering, such a deadly life, 
In your denial I would find no sense ; 270 

I would not understand it. 

OIL Wliy? what would you ? 

Vio. Make me a willow cabin at your gate, 
And call upon my soul within the house ; 
Write royal cantons of contemned love 
And sing them loud even in the dead of night ; 
Halloo your name to the reverberate hills 
And make the babbling gossip of the air 
Cry out Olivia ! O, you should not rest 
Between the elements of air and earth. 
But you should pity me ! 

Oli. You might do much. 280 

What is your parentage ? 

Vio. Above my fortunes, yet my state is well : 
I am a gentleman. 

Oli. Get you to your lord ; 

I cannot love him : let him send no more ; 
Unless, perchance, you come to me again. 
To tell me how he takes it. Fare you well : 
I thank you for your pains : spend this for me. 

264. In voices well divulged = in common speech well 
reported. 

272-280. [This whole passage should be read aloud to bring 
out its lovely melody. Note the imaginativeness of the bab- 
bling gossip of the air ; what mythological figure is meant ?] 

274. [cantons = cantos.] 



30 TWELFTH NIGHT ; [Act I. Sc. V. 

Via. I am no fee'd post, lady ; keep your purse : 
My master, not myself, lacks recompense. 
Love make kis heart of flint that you shall love ; 290 
And let your fervour, like my master's, be 
Placed in contempt ! Farewell, fair cruelty. [Exit. 

Oli. " What is your parentage ? " 
" Above my fortunes, yet my state is well : 
I am a gentleman." I '11 be sworn thou art ; 
Thy tongue, thy face, thy limbs, actions and spirit, 
Do give thee five-fold blazon. Not too fast : soft, 

soft ! 
Unless the master were the man. How now ! 
Even so quickly may one catch the plague ? 
Methinks I feel this youth's perfections 300 

With an invisible and subtle stealth 
To creep in at mine eyes. Well, let it be. 
What ho, Malvolio 1 

Re-enter Malvolio. 

Mai. Here, madam, at your service. 

Oli. Run after that same peevish messenger. 
The county's man : he left this ring behind him, 
Would I or not : tell him I '11 none of it. 
Desire him not to flatter with his lord, 
Nor hold him up with hopes ; I am not for him : 
If that the youth will come this way to-morrow, 
I '11 give him reasons for 't : hie thee, Malvolio. 310 

Mai. Madam, I will. [Exit 

Oli. I do I know not what, and fear to find 
Mine eye too great a flatterer for my mind. 
Fate, show thy force : ourselves we do not owe ; 
What is decreed must be, and be this so. [Exit. 

297. [five-fold blazon : a metaphor from heraldry,] 
314. owe = own, have under our own control. 



ActILSc.L] or, what YOU WILL. 31 

ACT 11. 

ScEisTE I. The sea-coast. 
Enter Antonio and Sebastian. 

Ant. Will you stay no longer ? nor will you not 
that I go with you ? 

8eh. By your patience, no. My stars shine darkly 
over me : the malignancy of my fate might perhaps 
distemper yours ; therefore I shall crave of you your 
leave that I may bear my evils alone : it were a bad 
recompense for your love, to lay any of them on you. 

Ant. Let me yet know of you whither you are 
bound. 9 

Seh. No, sooth, sir : my determinate voyage is 
mere extravagancy. But I perceive in you so excel- 
lent a touch of modesty, that you will not extort from 
me what I am willing to keep in ; therefore it charges 
me in manners the rather to express myself. You 
must know of me then, Antonio, my name is Sebas- 
tian, which I called Roderigo. My father was that 
Sebastian of Messaline, whom I know you have heard 
of. He left behind him myself and a sister, both born 
in an hour : if the heavens had been pleased, would 
we had so ended ! but you, sir, alter 'd that ; for some 
hour before you took me from the breach of the sea 
was my sister drown'd. 22 

Ant. Alas the day ! 

Seh. A lady, sir, though it was said she much 

resembled me, was yet of many accounted beautiful : 

but, though 1 could not with such estimable wonder 

11. extravagancy = aimless wandering. 

17. Messaline. No such place is known. Probably Mitylene. 

21. [breach = breaking ; hence, breakers, surf.] 

26. [estimable wonder. This is the active use of an ad- 



32 TWELFTH NIGHT; [Act II. 

overfar believe that, yet thus far I will boldly publish 
her ; she bore a mind that envy could not but call 
fair. She is drown'd already, sir, with salt water, 
though I seem to drown her remembrance agaip with 
more. a 

Ant. Pardon me, sir, your bad entertainment. 

Seh. O good Antonio, forgive me your trouble. 

Ant. If you will not murder me for my love, let 
me be your servant. 

Seh. If you will not undo what you have done, that 
is, kill him whom you have recover'd, desire it not. 
Fare ye well at once : my bosom is full of kindness, 
and I am yet so near the manners of my mother, that 
upon the least occasion more mine eyes will tell tales 
of me. I am bound to the Count Orsino's court : 
farewell. [Exit. 

Ant. The gentleness of all the gods go with thee ! 
I have many enemies in Orsino's court, 44 

Else would I very shortly see thee there. 
But, come what may, I do adore thee so. 
That danger shall seem sport, and I will go. {Exit. 

Scene II. A street. 
Enter Viola, M.a\jY01ao following. 

Mai. Were not you even now with the Countess 
Olivia ? 

Vio. Even now, sir ; on a moderate pace I have 
since arrived but hither. 

Mai. She returns this ring to you, sir : you might 
have saved me my pains, to have taken it away your- 
self. She adds, moreover, that you should, put your 
lord into a desperate assurance she will none of him : 

jective ending in able, common in Shakespeare's time. It is 
equivalent to " esteeming wonder," i. e. admiration.] 



Scene II.] OR, WHAT YOU WILL. 33 

and one thing more, that you be never so hardy to 
come again in his affairs, unless it be to report your 
lord's taking of this. Receive it so. u 

Vio. She took the ring of me : I '11 none of it. 

Mai. Come, sir, you peevishly threw it to her; and 
her will is, it should be so return'd : if it be worth 
stooping for, there it lies in your eye : if not, be it 
his that finds it. ^ [Exit. 

Vio. I left no ring with her : what means this 
lady? 
Fortune forbid my outside have not charm'd her ! 
She made good view of me ; indeed, so much. 
That sure methought her eyes had lost her tongue, 20 
For she did speak in starts distractedly. 
She loves me, sure ; the cunning of her passion 
Invites me in this churlish messenger. 
None of my lord's ring ! why, he sent her none. 
I am the man : if it be so, as 't is. 
Poor lady, she were better love a dream. 
Disguise, I see, thou art a wickedness, 
Wherein the pregnant enemy does much. 
How easy is it for the proper-false 
In women's waxen hearts to set their forms ! 30 

Alas, our frailty is the cause, not we ! 
For such as we are made of, such we be. 
How will this f adge ? my master loves her dearly ; 
And I, poor monster, fond as much on him ; 

26. [she -were better love = it would be better for her to 
love. The old dative construction, " it were better to me," was 
corrupted in Elizabethan English into " I were better."] 

28. [pregnant = ready (of wit). For the enemy, see Act III., 
Sc. iv.,'l. 100.] ' 

29. proper-false = handsome-faithless men. 

33. fadge = wag, go, work. 

34. [monster. The word is used in reference to the unnat- 



34 TWELFTH NIGHT; [Act 11. 

And she, mistaken, seems to dote on me. 

What will become of this ? As I am man, 

My state is desperate for my master's love ; 

As I am woman, — now alas the day ! — 

What thriftless sighs shall poor Olivia breathe ! 

O time ! thou must untangle this, not I ; 40 

It is too hard a knot for me to untie ! [Exit. 

Scene III. Olivia's house. 
Enter Sir Toby and Sir Andrew. 

Sir To. Approach, Sir Andrew : not to be a-bed 
after midnight is to be up betimes ; and diluculo sur- 
gere^ thou know'st — 

Sir And. Nay, by my troth, I know not: but I 
know, to be up late is to be up late. 

Sir To. A false conclusion : I hate it as an unfill'd 
can. To be up after midnight and to go to bed then, 
is early ; so that to go to bed after midnight is to go 
to bed betimes. Does not our life consist of the four 
elements ? lo 

Sir And. Faith, so they say ; but I think it rather 
consists of eating and drinking. 

Sir To. Thou 'rt a scholar; let us therefore eat 
and drink. Marian, I say ! a stoup of wine ! 

Enter Clown. 

Sir And. Here comes the fool, i' faith. 

ural or inconsistent, not necessarily to the repulsive. Viola is, of 
course, thinking of her disguise, fond = dote ; an example of 
the Elizabethan flexibility in the use of the parts of speech.] 

36. [What will become of this ? We should say, " What 
will this come to ? "] 

2. [betimes = in good time, early.] diluculo surgere = to 
rise early, salubernmum est = is most healthful. From Lily's 
Latin Grammar. 



Scene III.] OR, WHAT YOU WILL. 35 

Clo. How now, my hearts ! did you never see the 
picture of " we three " ? 17 

Sir To, Welcome, ass. Now let 's have a catch. 

Sir And. By my troth, the fool has an excellent 
breast. I had rather than forty shillings I had such 
a leg, and so sweet a breath to sing, as the fool has. 
In sooth, thou wast in very gracious fooling last night, 
when thou spokest of Pigrogromitus, of the Vapians 
passing the equinoctial of Queubus : 't was very good, 
i' faith. I sent thee sixpence for thy leman ; hadst it ? 

Clo. I did impeticos thy gratillity ; for Malvolio's 
nose is no whipstock : my lady has a white hand, and 
the Myrmidons are no bottle-ale houses. 

Sir And. Excellent ! why, this is the best fooling, 
when all is done. Now, a song. 30 

Sir To. Come on ; there is sixpence for you : let 's 
have a song. 

Sir And. There 's a testril of me too : if one knight 
give a — 

Clo. Would you have a love-song, or a song of good 
life? 

Sir To. A love-song, a love-song. 

Sir And. Aj^ ay : I care not for good life. 

17. the picture of " we three : " that is, two asses. [Or, 
perhaps, two fools. The third was to be supplied by the inno- 
cent beholder, — a familiar mirth-raising device.] 

20. breast = voice. Teste's part was plainly written for a 
singing actor. 

25. leman = sweetheart, mistress. 

26. [impeticos thy gratillity : probably Feste's professional 
perversion of " impetticoat thy gratuity ; " i. e. he gave it to his 
sweetheart.] 

33. testril : slang for sixpence, if one knight give a. Thus 
the folio ; probably a few words are lost, such as " a testril, I 
will give another." 



36 TWELFTH NIGHT i [Act II. 

Clo, [Sings.'] 

O mistress mine, where are you roaming ? 
O, stay and hear ; your true love 's coming, 

That can sing both high and low : 41 

Trip no further, pretty sweeting ; 
Journeys end in lovers meeting, 

Every wise man's son doth know. 

Sir And. Excellent good, i' faith. 
Sir To. Good, good. 
Clo. [^Sings.~\ 

What is love ? 't is not hereafter ; 
Present mirth hath present laughter ; 

What 's to come is still unsure : 
In delay there lies no plenty ; 50 

Then come kiss me, sweet-and-twenty, 

Youth 's a stuff will not endure. 

Sir And. A mellifluous voice, as I am true knight. 

Sir To. A contagious breath. 

Sir And. Very sweet and contagious, i' faith. 

Sir To. To hear by the nose, it is dulcet in conta- 
gion. But shall we make the welkin dance indeed? 
shall we rouse the night-owl in a catch that will draw 
three souls out of one weaver ? shall we do that ? 

Sir And. An you love me, let 's do 't : I am dog at 
a catch. ei 

39. O mistress mine. This charming song is not Shake- 
speare's. Its writer is unknown. The lines and snatches of verse 
throughout this scene are from old songs popular in Shakespeare's 
day. [Dr. Furness writes : " Oxen and wainropes cannot hale 
me from the belief that this song is Shakespeare's very own."] 

51. [sweet-and-twenty. The Globe editors explain this 
phrase : " Sweet kisses and twenty of them." Dr. Furness, how- 
ever, calls it " a vocative term of endearment," — certainly the 
more pleasing interpretation.] 

59. one weaver : weavers were notably psalm-singers. 

60. [dog: a colloquialism paralleled by our modern "an old 
hand." See Two Gentlemen of Verona, Act IV., sc. iv., 1. 14 : 
" To be as it were a dog at all things."] 



Scene III.] OR, WHAT YOU WILL. 37 

Clo. By 'r lady, sir, and some dogs will catch well. 

Sir And. Most certain. Let our catch be, " Thou 
knave." 

Clo. "Hold thy peace, thou knave," knight? I 
shall be constrained in 't to call thee knave, knight. 

Sir And. 'T is not the first time I have constrained 
one to call me knave. Begin, fool : it begins '* Hold 
thy peace." 

Clo. I shall never begin if I hold my peace, 70 

Sir And. Good, i' faith. Come, begin. 

[They sing the catch. 
Enter Maria. 

Mar. What a caterwauling do you keep here ! If 
my lady have not call'd up her steward Malvolio and 
bid him turn you out of doors, never trust me. 

Sir To. My lady 's a Cataian, we are politicians, 
Malvolio 's a Peg-a-Ramsey, and " Three merry men 
be we." Am not I consanguineous ? am I not of her 
blood? Tilly vally, lady ! ^Sings.'] "There dwelt 
a man in Babylon, lady, lady ! " 79 

Clo. Beshrew me, the knight 's in admirable fooling. 

Sir And. Ay, he does well enough if he be disposed, 
and so do I too : he does it with a better grace, but I 
do it more natural. 

Sir To. \_Sings.~\ " O, the twelfth day of Decem- 
ber,"— 

Mar. For the love of God, peace ! 
Enter Malvolio. 

Mai. My masters, are you mad ? or what are you ? 
Have you no wit, manners, nor honesty, but to gabble 

75. Cataian = Cathay-an = native of Cathay, Chinese. 

76. [Peg-a-Ramsey : a name taken from an old song.] 
78. [Tillyvally : an exclamation of contempt.] 

80. [Beshrew me : a petty curse, equivalent to "may I be 
shrew-bitten." See note on Act I., so. iii., 1. 48.] 



38 TWELFTH NIGHT ; [Act II. 

like tinkers at this time of night ? Do je make an ale- 
house of my lady's house, that ye squeak out your 
coziers' catches without any mitigation or remorse of 
voice ? Is there no respect of place, persons, nor time 
in you? 93 

Sir To. We did keep time, sir, in our catches. 
Sneck up ! 

Mai. Sir Toby, I must be round with you. My 
lady bade me tell you, that, though she harbours you 
as her kinsman, she 's nothing allied to your disorders. 
If you can separate yourself and your misdemeanours, 
you are welcome to the house ; if not, an it would 
please you to take leave of her, she is very willing to 
bid you farewell. 102 

Sir To. \^Singing always.~\ " Farewell, dear heart, 
since I must needs be gone." 

Mar. Nay, good Sir Toby. 

Clo. [Singing always.~\ "His eyes do show his 
days are almost done." 

Mai. Is 't even so ? 

Sir To. "But I will never die." 

Clo. Sir Toby, there you lie. no 

Mai. This is much credit to you. 

Sir To. " Shall I bid him go ?" 

Clo. "What an if you do?" 

Sir To. " Shall I bid him go, and spare not ? " 

Clo. " O no, no, no, no, you dare not." 

Sir To. Out o' time, sir : ye lie. Art any more 
than a steward ? Dost thou think, because thou art 
virtuous, there shall be no more cakes and ale ? 

Clo. Yes, by Saint Anne, and ginger shall be hot 
i' th' mouth too. 120 

91. [coziers' = cobblers'.] 

95. Sneck up = shut up. Sneck = latch, bar. 

96. [round = plain-spoken.] 



Scene III.] OR, WHAT YOU WILL. 39 

Sir To. Thou 'rt i' th' right. Go, sir, rub your 
chain with crumbs. A stoup of wine, Maria ! 

Mai. Mistress Mary, if you prized my lady's fa- 
vour at any thing more than contempt, you would not 
give means for this uncivil rule : she shall know of it, 
by this hand. [Exit. 

Mar. Go shake your ears. 

Sir And. 'T were as good a deed as to drink when 
a man 's a-hungry, to challenge him the field, and then 
to break promise with him and make a fool of him. 

Sir To. Do 't, knight : I '11 write thee a challenge ; 
or I '11 deliver thy indignation to him by word of 
mouth. 133 

Mar. Sweet Sir Toby, be patient for to-night : since 
the youth of the count's was to-day with my lady, she 
is much out of quiet. For Monsieur Malvolio, let me 
alone with him : if I do not gull him into a nay word, 
and make him a common recreation, do not think I 
have v/it enough to lie straight in my bed : I know I 
can do it. i40 

Sir To. Possess us, possess us ; tell us something 
of him. 

Mar. Marry, sir, sometimes he is a kind of puritan. 

Sir And. O, if I thought that, I 'd beat him like a 
dog ! 

Sir To. What, for being a puritan ? thy exquisite 
reason, dear knight? 

Sir And. I have no exquisite reason for 't, but I 
have reason good enough. 149 

Mar. The devil a puritan that he is, or any thing 
constantly, but a time-pleaser ; an affection 'd ass, that 

127. shake your ears : like an ass, of course. 
137. [nay-word = by-word, laughing-stock.] 
151. [affection'd = aifected.] 



40 TWELFTH NIGHT- [Act II. 

cons state without book and utters it by great swarths : 
the best persuaded of himself, so cramm'd, as he thinks, 
with excellencies, that it is his grounds of faith that 
all that look on him love him ; and on that vice in 
him will my revenge find notable cause to work. 

Sir To. What wilt thou do ? 157 

Mar, I will drop in his way some obscure epistles 
of love ; wherein, by the colour of his beard, the shape 
of his leg, the manner of his gait, the expressure of 
his eye, forehead, and complexion, he shall find him- 
self most feelingly personated. I can write very like 
my lady your niece : on a forgotten matter we can 
hardly make distinction of our hands. 

Sir To. Excellent ! I smell a device. 

Sir And. I have 't in my nose too. 

Sir To. He shall think, by the letters that thou 
wilt drop, that they come from my niece, and that 
she 's in love with him. i69 

Mar. My purpose is, indeed, a horse of that colour. 

Sir And. And your horse now would make him an 
ass. 

Mar. Ass, I doubt not. 

Sir And. O, 't will be admirable ! 

Mar. Sport royal, I warrant you : I know my 
physic will work with him. I will plant you two, 
and let the fool make a third, where he shall find the 
letter : observe his construction of it. For this night, 
to bed, and dream on the event. Farewell. \_Exit. 

Sir To. Good night, Penthesilea. 180 

Sir And. Before me, she 's a good wench. 

152. [s-warths = swaths ; swath = the quantity cut by a 
mower at one scythe-sweep.] 

180. Penthesilea : queen of the Amazons. 

181. [Before me : an asseveration, roughly equivalent to 



Scene IV.] OR, WHAT YOU WILL. 41 

Sir To. She 's a beagle, true-bred, and one that 
adores me : what o' that ? 

Sir And. I was adored once too. 

Sir To. Let 's to bed, knight. Thou hadst need 
send for more money. 

Sir And. If I cannot recover your niece, I am a 
foul way out. 

Sir To. Send for money, knight : if thou hast her 
not i' th' end, call me cut. 190 

Sir And. If I do not, never trust me, take it how 
you will. 

Sir To. Come, come, I '11 go burn some sack ; 't is 
too late to go to bed now : come, knight ; come, knight. 

[^Exewnt, 



Scene IV. The Duke's palace. 
Enter Duke, Viola, Curio, and others. 

Duhe. Give me some music. Now, good-morroWa 
friends. 
Now, good Cesario, but that piece of song. 
That old and antique song we heard last night : 
Methought it did relieve my passion much. 
More than light airs and recollected terms 
Of these most brisk and giddy-paced times : 
Come, but one verse. 

"upon my soul," and similar in form to " before God." See 
The Winter's Tale, Act IV., sc. iii., 1. 54 : *' I' the name of 
me."] 

188. [out : i. e. of money.] 

190. [call me cut : mucli the same as " eall me horse " = 
ridicule or reproach me.] 

193. [sack = a Spanish wine.] 

3. antique = quaint ; accented on the first syllable ; whence, 
antic. 



42 TWELFTH NIGHT; [Act 11. 

Cur. He is not here, so please your lordship, that 
should sing it. 

Duke. Who was it ? lo 

Cur. Feste, the jester, my lord ; a fool that the 
Lady Olivia's father took much delight in. He is 
about the house. 

Dulce. Seek him out, and play the tune the while. 

\^Exit Curio. Music plays. 
Come hither, boy : if ever thou shalt love, 
In the sweet pangs of it remember me ; 
For such as I am all true lovers are, 
Unstaid and skittish in all motions else. 
Save in the constant image of the creature 
That is beloved. How dost thou like this tune ? 20 

Vio. It gives a very echo to the seat 
Where Love is throned. 

Duhe. Thou dost speak masterly : 
My life upon 't, young though thou art, thine eye 
Hath stay'd upon some favour that it loves ; 
Hath it not, boy ? 

Vio. A little, by your favour. 

Duke. What kind of woman is 't ? 
Yio. Of your complexion. 

Duhe. She is not worth thee, then. What years, 

i' faith? 
Vio. About your years, my lord. 
Duke. Too old, by heaven : let still the woman 
take 30 

An elder than herself : so wears she to him, 
So sways she level in her husband's heart : 
For, boy, however we do praise ourselves, 

18. [motions = emotions.] 

25, 26. [favour, Notice the Elizabethan quibble ; see note 
on Act I., sc. v., 1. 162.] 



Scene IV.] OR, WHAT YOU WILL. 43 

Our fancies are more giddy and unfirm, 
More longing, wavering, sooner lost and worn, 
Than women's are. 

Vio. I think it well, my lord. 

Duke, Then let thy love be younger' than thyself, 
Or thy affection cannot hold the bent ; 
For women are as roses, whose fair flower 
Being once display'd, doth fall that very hour. 40 

Vio. And so they are : alas, that they are so ; 
To die, even when they to perfection grow ! 
Re-enter CuBio, with Clown. 

Duke, O, fellow, come, the song we had last night. 
Mark it, Cesario, it is old and plain ; 
The spinsters and the knitters in the sun 
And the free maids that weave their thread with bones 
Do use to chant it : it is silly sooth, 
And dallies with the innocence of love, 
Like the old age. 

Clo. Are you ready, sir ? so 

Duke. Ay ; prithee, sing. \Music. 

Clo. 

Song. 

Come away, come away, death. 
And in sad cypress let me be laid; 

Fly away, fly away, breath; 

I am slain by a fair cruel maid. 

38. [hold the bent : a metaphor taken from the bending of 
a bow.] 

45. [spinsters = spinning-women. In old English ster was 
a feminine suffix. Its true force, originally felt in such words 
as Webster (weaving-woman), survives in spinster only.] 

46. [free = probably, care-free.] 

47. [silly sooth = simple truth.] 

53. [cypress = crape or gauze, said to have been first brought 
from the island of Cyprus; it was generally black, though white 
cypress is not unheard of. See Act III., sc. i., 1. 117.] 



44 TWELFTH NIGHT; [Act IL 

My shroud of white, stuck all with yew, 

O, prepare it ! 
My part of death, no one so true 

Did share it. 

Not a flower, not a flower sweet, 60 

On my black coffin let there be strown ; 
Not a friend, not a friend greet 

My poor corpse, where my bones shall be thrown : 
A thousand thousand sighs to save, 

Lay me, O, where 
oad true lover never find my grave, 
To weep there ! 

Duke. There 's for thy pains. 

Clo. No pains, sir ; I take pleasure in singing, sir. 

Duke. I '11 pay thy pleasure then. 70 

Clo. Truly, sir, and pleasure will be paid, one time 
or another. 

Duke. Give me now leave to leave thee. 

Clo. Now, the melancholy god protect thee ; and 
the tailor make thy doublet of changeable taffeta, for 
thy mind is a very opal. I would have men of such 
constancy put to sea, that their business might be 
every thing and their intent every where ; for that 's 
it that always makes a good voyage of nothing. 
Farewell. . [^^*«- 

Duke. Let all the rest give place; 

[Curio and Attendants retire. 

Once more, Cesario, 
Get thee to yond same sovereign cruelty : 82 

Tell her, my love, more noble than the world, 
Prizes not quantity of dirty lands ; 
The parts that fortune hath bestow'd upon her, 
Tell her, I hold as giddily as fortune ; 
But 't is that miracle and queen of gems 
That nature pranks her in attracts my soul. 



Scene IV.] OR, WHAT YOU WILL. 45 

Vio. But if she cannot love you, sir ? 

Duke. I cannot be so answer'd. 

Yio, Sooth, but you must. 

Say that some lady, as perhaps there is, 91 

Hath for your love as great a pang of heart 
As you have for Olivia : you cannot love her ; 
You tell her so ; must she not then be answer'd ? 

Duke. There is no woman's sides 
Can bide the beating of so strong a passion 
As love doth give my heart ; no woman's heart 
So big, to hold so much ; they lack retention. 
Alas, their love may be call'd appetite, 
No motion of the liver, but the palate, 100 

That suffer surfeit, cloyment and revolt ; 
But mine is all as hungry as the sea. 
And can digest as much : make no compare 
Between that love a woman can bear me 
And that I owe Olivia. 

Yio. Ay, but I know — 

Duke. What dost thou know ? 

Yio. Too well what love women to men may 
owe : 
In faith, they are as true of heart as we. 
My father had a daughter loved a man. 
As it might be, perhaps, were I a woman, uo 

I should your lordship. 

Duke. And what 's her history ? 

Yio. A blank, my lord. She never told her love, 
But let concealment, like a worm i' th' bud. 
Feed on her damask cheek : she pined in thought, 

101. [A confused construction. What is the antecedent of 
that ?] 

114. [thought = brooding sadness. See Julius Ccesar, Act 
II., sc. i., 1. 187.] 



46 TWELFTH NIGHT ; Act n. 

And with a green and yellow melancholy 
She sat, like Patience on a monument, 
Smiling at grief. Was not this love indeed ? 
We men may say more, swear more : but indeed 
Our shows are more than will ; for still we prove 
Much in our vows, but little in our love. 120 

Duke. But died thy sister of her love, my boy ? 

Yio. I am all the daughters of my father's house, 
And all the brothers too : and yet I know not. 
Sir, shall I to this lady ? 

Duke. Ay, that 's the theme. 

To her in haste ; give her this jewel ; say, 
My love can give no place, bide no denay. \Exeunt. 

Scene V. Olivia's garden. 
Enter Sm Toby, Sir Andrew, and Fabian. 

JSir To, Come thy ways, Signior Fabian. 

I^ah. Nay, I '11 come : if I lose a scruple of this 
sport, let me be boil'd to death with melancholy. 

Sir To. Wouldst thou not be glad to have the 
niggardly rascally sheep-biter come by some notable 
shame ? 

^ah. I would exult, man : you know, he brought 
me out o' favour with my lady about a bear-baiting 
here. 

Sir To. To anger him we '11 have the bear again ; 

117. Smiling at grief : it was the supposed sister, not Pa- 
tience, who smiled at grief. 

119. [There seems to be an ellipsis of our before will.'] 

126. [For denay (denial) as a verb (deny), see Henry VL, 
P^ //., ActL, sc. iii., 1. 107.] 

5. sheep-biter = cur. [There is a special appropriateness in 
comparing Malvolio to a surly, over-important shepherd-dog, 
that snaps at his charges needlessly.] 



Scene v.] OR, WHAT YOU WILL. 47 

and we will fool him black and blue : shall we not, 
Sir Andrew ? 12 

Sir And. An we do not, it is pity of our lives. 

Sir To, Here comes the little villain. 

Enter Maria. 

How now, my metal of India I 

Mar. Get ye all three into the box-tree : Malvo- 
lio 's coming down this walk : he has been yonder i' 
the sun practising behaviour to his own shadow this 
half hour : observe him, for the love of mockery ; for 
I know this letter will make a contemplative idiot of 
him. Close, in the name of jesting ! Lie thou there 
[throws down a letter^ ; for here comes the trout that 
must be caught with tickling. [Exit. 

Enter MAiiVOiiio. 

Mai. 'T is but fortune ; all is fortune. Maria 
once told me she did affect me : and I have heard 
herself come thus near, that, should she fancy, it 
should be one of my complexion. Besides, she uses 
me with a more exalted respect than any one else that 
follows her. What should I think on 't ? 

Sir To. Here 's an overweening rogue ! 30 

Fah. O, peace ! Contemplation makes a rare 
turkey-cock of him : how he jets under his advanced 
plumes ! 

Sir And. 'Slight, I could so beat the rogue ! 

Sir To. Peace, I say. 

15. metal of India = golden girl. 

25. [affect me = regard me with affection.] 

32. jets = struts, advanced = lifted, elevated. 

34. ['Slight : one of those interjections which had lost their 
originally profane meaning. This meant, at first, " by God's 
light." Thus marry, 1, 105 = by Mary; but this sense had com- 
pletely faded out when Shakespeare used it.] 



48 TWELFTH NIGHT ; [Act II. 

Mai. To be Count Malvolio ! 

Sir To. Ah, rogue ! 

Sir And. Pistol him, pistol him. 

Sir To. Peace, peace ! 39 

Mai. There is example for 't; the lady of the 
Strachy married the yeoman of the wardrobe. 

Sir And. Fie on him, Jezebel ! 

Fah. O, peace ! now he 's deeply in : look how im- 
agination blows him. 

Mai. Having been three months married to her, 
sitting in my state, — 

Sir To. O, for a stone-bow, to hit him in the eye ! 

Mai. Calling my officers about me, in my branch'd 
velvet gown ; having come from a day-bed, where I 
have left Olivia sleeping, — 50 

Sir To. Fire and brimstone ! 

Fah. O, peace, peace ! 

Mai. And then to have the humour of state ; and 
after a demure travel of regard, telling them I know 
my place as I would they should do theirs, to ask for 
my kinsman Toby, — 

Sir To. Bolts and shackles ! 

Fah. O peace, peace, peace ! now, now. ss 

Mai. Seven of my people, with an obedient start, 
make out for him : I frown the while ; and perchance 

40. lady of the Strachy : who she was is unknown. [The 
word Strachy is itself obscure.] 

42. [Jezebel. Common speech in Queen Elizabeth's day was 
full of references to the Bible ; 1 Kings xxi. 5 will show how 
appropriately Sir Andrew applies the name.] 

46. [state == chair of state.] 

47. stone-bow. Some cross-bows shot stones. 
49. [day-bed = couch.] 

53. [to have the humour of state = to be in a mood when 
one stands on one's dignity.] 

54. [a demure travel of regard = a slow, grave survey.] 



Scene v.] OR, WHAT YOU WILL. 49 

wind up my watch, or play with my — some rich 
jewel. Toby approaches ; courtesies there to me, — 

Sir To. Shall this fellow live? 

JFah, Though our silence be drawn from us with 
cords, yet peace. 

Mai. I extend my hand to him thus, quenching my 
familiar smile with an austere regard of control, — 

Sir To. And does not Toby take you a blow o' the 
lips then ? 69 

Mai. Saying, Cousin Toby, my fortunes having 
cast me on your niece, give me this prerogative of 
speech, — 

Sir To. What, what ? 

Mai. You must amend your drunkenness. 

Sir To. Out, scab! 

Fab. Nay, patience, or we break the sinews of our 
plot. 

Mai. Besides, you waste the treasure of your time 
with a foolish knight, — 

Sir And. That 's me, I warrant you. so 

Mai. One Sir Andrew, — 

Sir And. I knew 't was I ; for many do call me fool. 

Mai. What employment have we here ? 

[Taking up the letter. 

Fab. Now is the woodcock near the gin. 
Sir To. O, peace ! and the spirit of humours inti- 
mate reading aloud to him ! 

61. [Malvolio cannot think at this moment what he will pom- 
pously play with, — but anything will do, if it be costly.] 

65. ["with cords : Mr. White's own solution of a puzzle. 
The folio has " with cars."] 

84. [■woodcock. In the Elizabethan drama the woodcock is 
treated as a foolish bird, and furnishes many jests.] 

85. [humours = absurdities, fantastic caprices.] 



50 TWELFTH NIGHT; [Act II. 

Mai. By ray life, this is my lady's hand : these be 
her very C's, her U's and her T's ; and thus makes 
she her great P's. It is, in contempt of question, her 
hand. go 

Sir And. Her C's, her U's and her T's : why that? 

Mai. [Reads.^ " To the unknown beloved, this, 
and my good wishes : " — her very phrases ! By your 
leave, wax. Soft ! and the impressure her Lucrece, 
with which she uses to seal : 't is my lady. To whom 
should this be ? 

Fah. This wins him, liver and all. 

Mai. \_Iteads.^ 

Jove knows I love : 

But who ? 
Lips, do not move ; 100 

No man must know. 

"No man must know." What follows? the numbers 
altered ! " No man must know : " if this should be 
thee, Malvolio ? 

Sir To. Marry, hang thee, brock ! 

MaL \^Reads.'] 

I may command where I adore ; 

But silence, like a Lucrece knife, 
With bloodless stroke my heart doth gore ; 

M, O, A, I, doth sway my life. 

Fah. A fustian riddle ! uo 

Sir To. Excellent wench, say I. 
Mai. " M, O, A, I, doth sway my life." Nay, but 
first, let me see, let me see, let me see. 

Fah. What dish o' poison has she dress'd him ! 

102. [the numbers altered. What is the measure of 98^ 
101 ? Of 106-109 ?] 
105. brock = badger. 
110. [fustian = made of cheap stuff.] 



Scene v.] OR, WHAT YOU WILL. 51 

Sir To, And with what wing the staniel checks at 
it! 

Mai. " I may command where I adore." Why, 
she may command me : I serve her ; she is my lady. 
Why, this is evident to any formal capacity ; there is 
no obstruction in this : and the end, — what should 
that alphabetical position portend ? If I could make 
that resemble something in me, — Softly ! M, O, A, 

I, 123 

Sir To. O, ay, make up that : he is now at a cold 
scent. 

Fah. Sowter will cry upon 't for all this, though it 
be as rank as a fox. 

MaL M, — Malvolio ; M, — why, that begins my 
name. 

Fah. Did not I say he would work it out ? the cur 
is excellent at faults. m 

Mai. M, — but then there is no consonancy in the 
sequel ; that suffers under probation : A should follow, 
but O does. 

Fah. And O shall end, I hope. 

Sir To. Ay, or I '11 cudgel him, and make him 
cry O ! 

Mai. And then I comes behind. 

Fah. A.J, an you had any eye behind you, you might 
see more detraction at your heels than fortunes before 
you. 141 

Mai. M, O, A, I; this simulation is not as the 

115. staniel = a kind of hawk, checks = snaps. [In fal- 
conry, to check is to forsake the quarry for other birds.] 
119. formal = well regulated, reasonable. 
124-131. [A sustained metaphor from the hunting-field.] 
126. Sowter : a common name for a hound. 
135. And O ^=' and naught, nothing. 



52 TWELFTH NIGHT [Act 11. 

former : and yet, to crush this a little, it would bow 
to me, for every one of these letters are in my name. 
Soft ! here follows prose. 

[Reads.'\ If this fall into thy hand, revolve. In my stars I 
am above thee ; but be not afraid of greatness : some are born 
great, some achieve greatness, and some have greatness thrust 
upon 'em. Thy Fates open their hands ; let thy blood and spirit 
embrace them ; and, to inure thyself to what thou art like to be, 
cast thy humble slough and appear fresh. Be opposite with a 
kinsman, surly with servants ; let thy tongue tang arguments of 
state ; put thyself into the trick of singularity : she thus advises 
thee that sighs for thee. Remember who commended thy yellow 
stockings, and wish'd to see thee ever cross-garter 'd : I say, 
remember. Go to, thou art made, if thou desirest to be so ; if 
not, let me see thee a steward still, the fellow of servants, and not 
worthy to touch Fortune's fingers. Farewell. She that would 
alter services with thee, 159 

The Fortxjkate-Unhappy. 

Daylight and champain discovers not more : this is 
open. I will be proud, I will read politic authors, I 
will baffle Sir Toby, I will wash off gross acquaint- 
ance, I will be point-devise the very man. I do not 
now fool myself, to let imagination jade me ; for every 
reason excites to this, that my lady loves me. She did 
commend my yellow stockings of late, she did praise 
my leg being cross-garter'd ; and in this she manifests 

144. [are. Would this now be considered correct ?] 

152. [tang = twang, speak loudly ; also followed by " with." 
See Act III., sc. iv., 1. 72.] 

156. [Go to : a colloquial expression, to be rendered according 
to the context ; here equivalent to a playful "Why, man ! "] 

161. [champain == open field.] 

164. point-devise = precisely. 

165. [jade me = trick me. See All 's Well that Ends Well, 
Act IV., sc. v., 1. 64.] 

168. cross-garter'd. In cross-gartering the garters were 
passed around the leg across each other with an upward inclina- 
tion, and were knotted just below the knee. 



Scene v.] OR, WHAT YOU WILL. 53 

herself to my love, and with a kind of injunction drives 
me to these habits of her liking. I thank my stars I 
am happy. I will be strange, stout, in yellow stock- 
ings, and cross-garter 'd, even with the swiftness of 
putting on. Jove and my stars be praised ! Here is 
yet a postscript. lu 

\_Reads.'] Thou canst not choose but know who I am. If thou 
entertainest my love, let it appear in thy smiling ; thy smiles 
become thee well ; therefore in my presence still smile, dear my 
sweet, I prithee. 

Jove, I thank thee : I will smile ; I will do every 
thing that thou wilt have me. [Exit. 

Fah. I will not give my part of this sport for a 
pension of thousands to be paid from the Sophy. i82 

Sir To, I could marry this wench for this device. 

Sir And. So could I too. 

Sir To. And ask no other dowry with her but such 
another jest. 

Sir And. Nor I neither. 

Fah. Here comes my noble gull-catcher. 

Re-enter Majria. 

Sir To. Wilt thou set foot o' my neck ? 

Sir And. Or o' mine either ? 190 

Sir To. Shall I play my freedom at tray-trip, and 
become thy bond-slave ? 

Sir And. V faith, or I either ? 

Sir To. Why, thou hast put him in such a dream, 
that when the image of it leaves him he must run mad. 

171. [strange = unapproachable. stout = bold, disputa- 
tious.] 

177. [still smile = always smile, keep smiling.] 

182. Sophy = Shah. 

191. [tray-trip = a game at dice ; success depended on 
throwing a trey.] 



54 TWELFTH NIGHT ; [Act HI. 

Mar. Nay, but say true ; does it work upon him ? 

Sir To. Like aqua-vitae with a midwife. 

Mar. If you will then see the fruits of the sport, 
mark his first approach before my lady : he will come 
to her in yellow stockings, and 't is a colour she ab- 
hors, and cross-garter'd, a fashion she detests ; and he 
will smile upon her, which will now be so unsuitable 
to her disposition, being addicted to a melancholy as 
she is, that it cannot but turn him into a notable con- 
tempt. If you will see it, follow me. 205 

Sir To. To the gates of Tartar, thou most excellent 
devil of wit ! 

Sir And. I '11 make one too. [Exeunt. 



ACT III. 
Scene I. Olivia's garden. 

Enter Viola, and Clown with a tabor, 

Vio. Save thee, friend, and thy music : dost thou 
live by thy tabor ? 

Clo. No, sir, I live by the church. 

Vio. Art thou a churchman ? 

Clo. No such matter, sir : I do live by the church ; 
for I do live at my house, and my house doth stand 
by the church. 

Vio. So thou mayst say, the king lives by a beggar, 
if a beggar dwell near him ; or, the church stands by 
thy tabor, if thy tabor stand by the church. 10 

197. [aqua-vitae = " strong waters." (Johnson.)] 

206. Tartar = Tartarus. 

2. [tabor = a drum-like instrument, played with the fin- 
gers.] 

8. [lives. Mr. White's own reading. The folio has lyes, 
which would here mean " lodges."] 



Scene L] OR, WHAT YOU WILL. 55 

Clo. You have said, sir. To see this age ! A sen- 
tence is but a cheveril glove to a good wit : how quickly 
the wrong side may be turn'd outward ! 

Vio. Nay, that 's certain. 

Clo. Indeed words are very rascals since bonds dis- 
graced them. 

Vio. Thy reason, man ? 

Clo. Troth, sir, I can yield you none without words ; 
and words are grown so false, I am loath to prove 
reason with them. 20 

Vio. I warrant thou art a merry fellow and carest 
for nothing. 

Clo. Not so, sir, I do care for something ; but in 
my conscience, sir, I do not care for you : if that be 
to care for nothing, sir, I would it would make you 
invisible. 

Vio. Art not thou the Lady Olivia's fool ? 

Clo. No, indeed, sir ; the Lady Olivia has no folly : 
she will keep no fool, sir, till she be married ; and fools 
are as like husbands as pilchards are to herrings ; the 
husband 's the bigger : I am indeed not her fool, but 
her corrupter of words. 32 

Vio. I saw thee late at the Count Orsino's. 

Clo. Foolery, sir, does walk about the orb like the 
sun, it shines every where. I would be sorry, sir, but 
the fool should be as oft with your master as with my 
mistress : I think I saw your wisdom there. 

Vio. Nay, an thou pass upon me, I '11 no more with 
thee. Hold, there 's expenses for thee. {.Gives money. 

12. cheveril = kid. 

15. [The existence of a bond may be said to discredit the 
word, or promise, which ought itself to be " as good as a bond."] 

30. pilchards : fish ^ery like the herring, but larger and 
fatter. 



56 TWELFTH NIGHT; [Act III. 

Clo. Now Jove, in his next commodity of hair, send 
thee a beard ! 41 

Vio. By my troth, I '11 tell thee, I am almost sick 
for one ; [^sic?e] though I would not have it grow on 
my chin. Is thy lady within ? 

Clo, Would not a pair of these have bred, sir ? 

Vio. Yes, being kept together and put to use. 

Clo. I would play Lord Pandarus of Phrygia, sir, 
to bring a Cressida to this Troilus. 

Vio. I understand you, sir ; 't is well begg'd. 49 

[Gives again. 

Clo. The matter, I hope, is not great, sir, begging 
but a beggar : Cressida was a beggar. My lady is 
within, sir. I will construe to them whence you come ; 
who you are and what you would are out of my welkin, 
I might say " element," but the word is over-worn. 

[Exit. 

Vio. This fellow is wise enough to play the fool ; 
And to do that well craves a kind of wit : 
He must observe their mood on whom he jests, 
The quality of persons, and the time, 
And, like the haggard, check at every feather 
That comes before his eye. This is a practice eo 

As full of labour as a wise man's art : 
For folly that he wisely shows is fit ; 
But wise men's folly shown, quite taints their wit. 

47. [Pandarus : Cressida's uncle, the go-between in the love- 
affair of Troilus and Cressida. The story had been told by Chau- 
cer, and was later to be dramatized by Shakespeare himself.] 

53. [out of my "welkin = not visible in my sky.] 

54. [element: see Act I., sc. i., 1. 26.] 

59. [haggard = an untrained hawk, check : see Act II., sc. 
v., 1. 115. The word is somewhat more appropriate in the for- 
mer passage than in this. To meet this difficulty, Dr. Johnson 
read : " Not, like the haggard."] 



Scene!.] OR, WHAT YOU WILL. 57 

Enter Sir Toby and Sir Andrew. 

Sir To. Save you, gentleman. 
Vio. And you, sir. 

Sir And. Dieu vous garde, monsieur. 

Vio. Et vous aussi ; voire serviteur. 

Sir And. I hope, sir, you are ; and I am yours. 

Sir To. Will you encounter the house ? my niece 
is desirous you should enter, if your trade be to her. 

Vio. I am bound to your niece, sir; I mean, she is 
the list of my voyage. 72 

Sir To. Taste your legs, sir ; put them to motion. 

Vio. My legs do better understand me, sir, than I 
understand what you mean by bidding me taste my 
legs. 

Sir To. I mean, to go, sir, to enter. 

Vio. I will answer you with gait and entrance. But 
we are prevented. 

Enter Olivia and Maria. 
Most excellent accomplish'd lady, the heavens rain 
odours on you ! si 

Sir And. That youth 's a rare courtier : " Eain 
odours ; " well. 

Vio. My matter hath no voice, lady, but to your 
own most pregnant and vouchsafed ear. 

Sir And. " Odours," " pregnant " and "vouch- 
safed : " I '11 get 'em all three all ready. 

Oli. Let the garden door be shut, and leave me to 

72. [list = boundary, limit. How was the word used in con- 
nection with a tournament ?] 

79. [prevented == anticipated. Compare Merchant of Venice, 
Act I., sc. i., 1. 61; and see, in the Book of Common Prayer, the 
Collect for the seventeenth Sunday after Trinity : " We pray 
that thy grace may always prevent and follow us."] 

85. [pregnant = ready (to Hsten). See Act II., sc. ii., 1. 28.] 



68 TWELFTH NIGHT; [Act III. 

my hearing. [Exeunt Sir Toby, Sir Andreio, and 
Maria.~\ Give me your hand, sir. 90 

Vio. My duty, madam, and most humble service. 

Oli. What is your name ? 

Vio. Cesario is your servant's name, fair princess. 

Oli. My servant, sir ! 'T was never merry world 
Since lowly feigning was call'd compliment : 
You 're servant to the Count Orsino, youth. 

Vio. And he is yours, and his must needs be yours ; 
Your servant's servant is your servant, madam. 

Oli. For him, I think not on him : for his thoughts, 
Would they were blanks, rather than fiU'd with me ! 

Vio. Madam, I come to whet your gentle thoughts 
On his behalf. 

Oli. O, by your leave, I pray you, 102 

I bade you never speak again of him : 
But, would you undertake another suit, 
I had rather hear you to solicit that 
Than music from the spheres. 

Vio. Dear lady, — 

Oli. Give me leave, beseech you. I did send, 
After the last enchantment you did here, 
A ring in chase of you : so did I abuse 
Myself, my servant and, I fear me, you ; 110 

Under your hard construction must I sit. 
To force that on you, in a shameful cunning, 
Which you knew none of yours : what might you 

think ? 
Have you not set mine honour at the stake 

106. [music from the spheres : a reference to the Ptolemaic 
theory. The planets were supposed to be set in spheres, which 
revolved about the earth, making music as they moved. See 
Merchant of Venice, Act V., sc. i., lines 60-66.] 

114, 115. [A metaphor based on the cruel sport referred to in 
Act. II., sc. v., 1. 8. See also Macbeth, Act V., sc. vii., lines 1,2.] 



Scene L] OR, WHAT YOU WILL. 59 

And baited it with all tlie unmuzzled thoughts 

That tyrannous heart can think ? To one of your 

receiving 
Enough is shown : a cypress, not a bosom, 
Hideth my heart. So, let me hear you speak. 

Vio, I pity you. 

Oli, That 's a degree to love. 

Vio. No, not a grize ; for 't is a vulgar proof, 120 
That very oft we pity enemies. 

on. Why, then, methinks 't is time to smile 
again. 

world, how apt the poor are to be proud ! 
If one should be a prey, how much the better 

To fall before the lion than the wolf ! [Clock strikes. 

The clock upbraids me with the waste of time. 

Be not afraid, good youth, I will not have you : 

And yet, when wit and youth is come to harvest, 

Your wife is like to reap a proper man : 

There lies your way, due west. 130 

Vio. Then westward-ho ! Grace and good dispo- 
sition 
Attend your ladyship ! 
You '11 nothing, madam, to my lord by me ? 

Oli. Stay : 

1 prithee, tell me what thou think'st of me. 

Vio, That you do think you are — not what you 
are. 

116. [receiving = mental capacity.] 

117. cypress = a semi-transparent tissue. [See note on 
Act II., sc. iv., 1. 53.] 

120. grize = step. 

129, [proper = excellent. It frequently means handsome, 
as in Act II., sc. ii., 1. 29.] 

136. That you do think you are, etc. : that is, You think 
you are a woman loving a man. 



60 TWELFTH NIGHT; [Act III. 

OIL If I think so, I think the same of you. 

Yio. Then think you right : I am not what I am. 

Oil. I would you were as I would have you be ! 

Vio. Would it be better, madam, than I am ? uo 
I wish it might, for now I am your fool. 

Oil. O, what a deal of scorn looks beautiful 
In the contempt and anger of his lip ! 
A murd'rous guilt shows not itself more soon 
Than love that would seem hid : love's night is noon. 
Cesario, by the roses of the spring, 
By maidhood, honour, truth and every thing, 
I love thee so, that, maugre all thy pride, 
Nor wit nor reason can my passion hide. 
Do not extort thy reasons from this clause, i50 

For that I woo, thou therefore hast no cause ; 
But rather reason thus with reason fetter. 
Love sought is good, but given unsought is better. 

Vio. By innocence I swear, and by my youth, 
I have one heart, one bosom and one truth, 
And that no woman has ; nor never none 
Shall mistress be of it, save I alone. 
And so adieu, good madam : never more 
Will I my master's tears to you deplore. 

Oli. Yet come again ; for thou perhaps mayst 
move 160 

That heart, which now abhors, to like his love. 

{^Exeunt. 

Scene II. Olivia's house. 
Enter Sib Toby, Sir Andrew, and Fabian. 
Sir And. No, faith, I '11 not stay a jot longer. 
Sir To. Thy reason, dear venom, give thy reason. 

148. [maugre = despite.] 

2. [dear venom. Sir Toby, always fantastic iu his language, 



Scene IL] OR, WHAT YOU WILL. 61 

Fab. You must needs yield your reason, Sir 
Andrew. 

Sir And. Marry, I saw your niece do more favours 
to the count's servingman than ever she bestow'd 
upon me ; I saw 't i' th' orchard. 

Sir To. Did she see thee the while, old boy ? tell 
me that. 

Sir And. As plain as I see you now. lo 

Fab. This was a great argument of love in her 
toward you. 

Sir And. 'Slight, will you make an ass o' me ? 

Fab. I will prove it legitimate, sir, upon the oaths 
of judgement and reason. 

Sir To. And they have been grand-jurymen since 
before Noah was a sailor. 

Fab. She did show favour to the youth in your 
sight only to exasperate you, to awake your dormouse 
valour, to put fire in your heart, and brimstone in 
your liver. You should then have accosted her ; and 
with some excellent jests, fire-new from the mint, you 
should have bang'd the youth into dumbness. This 
was look'd for at your hand, and this was balk'd : the 
double gilt of this opportunity you let time wash off, 
and you are now sail'd into the north of my lady's 
opinion ; where you will hang like an icicle on a 

here adopts a fashion of the Euphuists, who affected startling 
contradictions ; compare Armado's " dear imp," Lovers Labour 's 
Lost, Act. I., sc. ii., 1. 5. The exquisite unreason of the present 
application is that venom suggests wit, of which, as Sir Andrew 
himself confesses, he has sometimes no more than an ordinary- 
man.] 

19. [dormouse valour : a delightful Illyrian perversion of 
" dormant valour," casually intimating that Sir Andrew has as 
much of that quality as a dormouse.] 

27. [an icicle on a Dutchman's beard : this curious illus- 



62 TWELFTH NIGHT ; [Act III. 

Dutchman's beard, unless you do redeem it by some 
laudable attempt either of valour or policy. 29 

Sir And. An 't be any way, it must be with val- 
our ; for policy I hate : I had as lief be a Brownist as 
a politician. 

Sir To. Why, then, build me thy fortunes upon 
the basis of valour. Challenge me the count's youth 
to fight with him; hurt him in eleven places: my 
niece shall take note of it ; and assure thyself, there 
is no love-broker in the world can more prevail in man's 
commendation with woman than report of valour. 

Fah. There is no way but this. Sir Andrew. 

Sir And. Will either of you bear me a challenge 
to him ? 41 

Sir To. Go, write it in a martial hand; be curst 
and brief ; it is no matter how witty, so it be eloquent 
and full of invention : taunt him with the license of 
ink : if thou thou'st him some thrice, it shall not be 
amiss ; and as many lies as will lie in thy sheet of 
paper, although the sheet were big enough for the bed 
of Ware in England, set 'em down : go, about it. Let 

tration arises in Fabian's mind from his preceding metaphor, 
which suggests, by association, images of extreme cold. The 
word Dutchman creeps in, probably, because of the discovery of 
Northern Nova Zembla by a Dutchman a few years before the 
date of this play.] 

31. Brownist = a sort of Puritan, follower of Robert Brown. 

33. [me : the " ethical dative." See Julius Ccesar^ Act I., sc. 
ii., 1. 269, and Merchant of Venice, Act I., sc. iii., 1. 85.] 

42. [curst : sharp, ill-tempered. See Midsummer Nighfs 
Dream, Act III., sc. ii., lines 300, 301.] 

45. if thou thou'st him : that is, if thou dost address him as 
thou instead of you ; an assertion of superiority on the part of 
the speaker. 

47. bed of Ware. It was 10 feet 9 inches square. It re- 
mained at Ware in an inn until 1864, when it was sold by auction. 



Scene II.] OR, WHAT YOU WILL. 63 

there be gall enough in thy ink, though thou write 
with a goose-pen, no matter : about it. 50 

Sir And. Where shall I find you ? 

Sir To. We '11 call thee at the cubiculo : go. 

{^Exit Sir Andrew. 

Fah. This is a dear manakin to you. Sir Toby. 

Sir To. I have been dear to him, lad, some two 
thousand strong, or so. 

Fab. We shall have a rare letter from him : but 
you '11 not deliver 't ? 

Sir To. Never trust me, then ; and by all means stir 
on the youth to an answer. I think oxen and wain- 
ropes cannot hale them together. For Andrew, if he 
were open'd, and you find so much blood in his liver 
as will clog the foot of a flea, I '11 eat the rest of th' 
anatomy. es 

Fah. And his opposite, the youth, bears in his 
visage no great presage of cruelty. 

Enter Mabia. 

Sir To. Look, where the youngest wren of nine 
comes. 

Mar. If you desire the spleen, and will laugh your- 
selves into stitches, follow me. Yond gull Malvolio 
is turned heathen, a very renegado ; for there is no 
Christian, that means to be saved by believing rightly, 
can ever believe such impossible passages of grossness. 
He 's in yellow stockings. 73 

52. cubiculo : lodging ; Toby's Latin for cubiculum. 

53. manakin = little man, contemptuously. 

66. youngest wren of nine. The wren lays nine eggs, and 
the last was supposed to produce the smallest bird. See note on 
Act I., sc. v., 1. 207. 

68. [the spleen = " a fit of laughter, the spleen being sup- 
posed to be the seat of that emotion." (Globe editors.)] 

72. [grossness = absurdity.] 



64 TWELFTH NIGHT; [Act III. 

Sir To. And cross-garter'd ? 

Mar. Most villanously ; like a pedant that keeps a 
school i' th' church. I have dogg'd him, like his mur- 
derer. He does obey every point of the letter that 
I dropp'd to betray him : he does smile his face into 
more lines than is in the new map with the augmenta- 
tion of the Indies ; you have not seen such a thing as 
't is. I can hardly forbear hurling things at him. I 
know my lady will strike him : if she do, he '11 smile 
and take 't for a great favour. 83 

Sir To. Come, bring us, bring us where he is. 

[Exeunt. 

Scene III. A street. 
Enter Sebastian and Antonio. 

Seh. I would not by my will have troubled you ; 
But, since you make your pleasure of your pains, 
I will no further chide you. 

Ant. I could not stay behind you : my desire, 
More sharp than filed steel, did spur me forth : 
And not all love to see you, though so much 
As might have drawn one to a longer voyage. 
But jealousy what might befall your travel. 
Being skilless in these parts ; which to a stranger, 
Unguided and unfriended, often prove lo 

Rough and unhospitable : my willing love, 

75. [like a pedant, etc. It was probably clear to an Eliza- 
bethan audience, though it is a mystery to us, why a pedagogue 
keeping a school in the church — as Shakespeare's own school- 
master may have done in the Guild Chapel at Stratford — would 
be likely to affect cross-gartering.] 

79. [the ne"w map : doubtless the map first issued to accom- 
pany the second edition of Hakluyt's Voyages, 1599.] 

8. [jealousy = anxiety.] 

9. [What is modified by the phrase being skilless, etc. ?] 



Scene III.] OR, WHAT YOU WILL. 65 

The rather by these arguments of fear, 
Set forth in your pursuit. 

Seh, My kind Antonio, 

I can no other answer make but thanks, 
And thanks, and thanks ; and ever oft good turns 
Are shuffled off with such uncurrent pay : 
But, were my worth as is ray conscience firm. 
You should find better dealing. What 's to do ? 
Shall we go see the reliques of this town ? 

Ant. To-morrow, sir : best first go see your lodg- 
ing. 20 

Seh, I am not weary, and 't is long to night : 
I pray you, let us satisfy our eyes 
With the memorials and the things of fame 
That do renown this city. 

Ant. Would you 'd pardon me ; 

I do not without danger walk these streets : 
Once, in a sea-fight, 'gainst the count his galleys 
I did some service ; of such note indeed. 
That were I ta'en here it would scarce be answer'd. 

Seh. Belike you slew great number of his people. 

Ant. The offence is not of such a bloody nature ; 30 

13. your pursuit = pursuit of you; [the "objective geni- 
tive."] 

15. [The folio has " And thankes : and ever oft good turnes." 
Theobald read : " And thanks, and ever thanks ; and oft good 
turns." The present reading makes oft an adjective, equiva- 
lent to " frequent."] 

17. [my worth : what I am worth. "If I could depend 
upon my wealth, as I can upon my honest intentions."] 

26. the count his galleys = the count's galleys : a false 
form of the possessive common in Shakespeare's time, but rare 
with him ; perhaps we should read county^s galleys. [The 's of 
the regular possessive case is not an abbreviation of Ms, as for 
some centuries it was supposed to be ; but a development of the 
old English es, the sign of the genitive.] 



QQ TWELFTH NIGHT; [Act III. 

Albeit the quality of the time and quarrel 
Might well have given us bloody argument. 
It might have since been answer "d in repaying 
What we took from them ; which, for traffic's sake, 
Most of our city did : only myself stood out ; 
For which, if I be lapsed in this place, 
I shall pay dear. 

Seh. Do not then walk too open. 

Ant. It doth not fit me. Hold, sir, here 's my purse. 
In the south suburbs, at the Elephant, ' 
Is best to lodge : I will bespeak our diet, 40 

Whiles you beguile the time and feed your knov/ledge 
With viewing of the town : there shall you have me. 

Seh. Why I your purse ? 

AnL Haply your eye shall light upon some toy 
You have desire to purchase ; and your store, 
I think, is not for idle markets, sir. 

Seb. I '11 be your purse-bearer and leave you 
For an hour. 

Ant. To the Elephant. 

Seb, I do remember. [Exeunt. 

Scene IV. Olivia's garden. 

Enter Olivia and Makia. 

on. I have sent after him : he says he '11 come ; 

How shall I feast him ? what bestow of him ? 

For youth is bought more oft than begg'd or borrow'd. 

I speak too loud. 

Where is Malvolio ? he is sad and civil. 
And suits well for a servant with my fortunes : 
Where is Malvolio? 

36. lapsed : probably lost, given up to aimless wandering. 
1. [he says he 11 come : anticipative, and equivalent to " Say 
he says he '11 come."] 



Scene IV.] OR, WHAT YOU WILL. 67 

Mar. He 's coming, madam ; but in very strange 
manner. He is, sure, possess'd, madam. 

Oli. Why, what 's the matter ? does he rave ? lo 

Mar, No, madam, he does nothing but smile : your 
ladyship were best to have some guard about you, if 
he come ; for, sure, the man is tainted in 's wits. 

OIL Go call him hither. \^Exit MariaJ] I am as 
mad as he, 
If sad and merry madness equal be. 

Be-enter Maria, with Malvolio. 

How now, Malvolio ! 

MaL Sweet lady, ho, ho. 

Oli. Smilest thou ? 
I sent for thee upon a sad occasion. 19 

MaL Sad, lady ? I could be sad : this does make 
some obstruction in the blood, this cross-gartering ; 
but what of that ? if it please the eye of one, it is with 
me as the very true sonnet is, " Please one, and please 
all." 

OIL Why, how dost thou, man ? what is the matter 
with thee ? 

MaL Not black in my mind, though yellow in my 
legs. It did come to his hands, and commands shall 
be executed : I think we do know the sweet Roman 
hand. 30 

OIL Wilt thou go to bed, Malvolio? 

MaL To bed ! ay, sweet-heart. 

OIL God comfort thee I Why dost thou smile so 
and kiss thy hand so oft ? 

Mar. How do you, Malvolio ? 

MaL At your request ! yes ; nightingales answer 
daws. 

19. [sad : of grave importance.] 



68 TWELFTH NIGHT; [Act III. 

Mar. Why appear you with this ridiculous boldness 
before my lady ? 

Mai. " Be not afraid of greatness : " 't was well writ. 

Oil. What mean'st thou by that, Malvolio ? 4i 

Mai. " Some are born great," — 

OIL Ha! 

Mai. " Some achieve greatness," — 

Oil. What say'st thou ? 

Mai. " And some have greatness thrust upon them." 

on. Heaven restore thee ! 

Mai. " Remember who commended thy yellow stock- 
ings," — 

Oli. My yellow stockings ! so 

Mai. " And wish'd to see thee cross-gartered." 

Oli. Cross-garter'd ! 

Mai. " Go to, thou art made, if thou desirest to be 
so;" — 

Oil. Am I made ? 

Mai. " If not, let me see thee a servant still." 
Oli. Why, this is very midsummer madness. 

Enter Servant. 

Ser. Madam, the young gentleman of the Count 
Orsino's is return'd : I could hardly entreat him back : 
he attends your ladyship's pleasure. eo 

Oli. I'll come to him. \^Exit Servant.^ Good 
Maria, let this fellow be look'd to. Where 's my 
cousin Toby ? Let some of my people have a special 
care of him : I would not have him miscarry for the 

half of my dowry. \^Exeunt Olivia and Maria. 

Mai. O, ho ! do you come near me now ? no worse 

50. My yellow stockings ! Olivia does not know that Mal- 
volio is quoting from the letter, and she supposes he is speaking 
directly to her. [The folio reads thy ; my is Lettsom's sugges- 
tion, adopted by Mr. White.] 



Scene IV.] OR, WHAT YOU WILL. 69 

man than Sir Toby to look to me ! This concurs di- 
rectly with the letter : she sends him on purpose, that 
I may appear stubborn to him ; for she incites me to 
that in the letter. " Cast thy humble slough," says 
she ; " be opposite with a kinsman, surly with ser- 
vants ; let thy tongue tang with arguments of state ; 
put thyself into the trick of singularity ; " and conse- 
quently sets down the manner how ; as, a sad face, a 
reverend carriage, a slow tongue, in the habit of some 
sir of note, and so forth. I have limed her ; but it is 
Jove's doing, and Jove make me thankful ! And when 
she went away now, " Let this fellow be look'd to : " 
fellow ! not Malvolio, nor after my degree, but fellow. 
Why, every thing adheres together, that no dram of 
a scruple, no scruple of a scruple, no obstacle, no in- 
credulous or unsafe circumstance — what can be said ? 
Nothing that can be can come between me and the full 
prospect of my hopes. Well, Jove, not I, is the doer 
of this, and he is to be thanked. 

Re-enter Maria, with Snt Toby and Fabian. 

Sir To. Which way is he, in the name of sanctity ? 
If all the devils of hell be drawn in little, and Legion 
himself possess'd him, yet I '11 speak to him. 

Fah. Here he is, here he is. How is 't with you, 
sir ? how is 't with you, man ? 90 

76. limed her = taken her as with bird lime. 

77. [Mention of " Jove " and " the gods " (see Act II., sc. i., 
1. 43) may appear strange in a play containing " Sir Topas the 
curate," and the " holy man " and " chantry " of Act IV., sc. iii.; 
but this blending of old and new characterized the expression 
of the Renaissance, both written and pictorial.] 

79. [fellow, Malvolio apparently receives the very word 
which indicates that he is considered an inferior, in the sense of 
"equal, companion."] 

81. [incredulous = incredible.] 



70 TWELFTH NIGHT; [Act III. 

Mai, Go off ; I discard you : let me enjoy my pri- 
vate : go off. 

Mar. Lo, how hollow the fiend speaks within him ! 
did not I tell you ? Sir Toby, my lady prays you to 
have a care of him. 

Mai. Ah, ha ! does she so ? 

Sir To. Go to, go to ; peace, peace ; we must deal 
gently with him : let me alone. How do you, Mal- 
volio ? how is 't with you ? What, man ! defy the 
devil : consider, he 's an enemy to mankind. loo 

Mai. Do you know what you say ? 

Mar. La you, an you speak ill of the devil, how he 
takes it at heart ! Pray God, he be not bewitch'd ! 
My lady would not lose him for more than I '11 say. 

Mai. How now, mistress ! 

Mar. O Lord ! 

Sir To. Prithee, hold thy peace ; this is not the 
way: do you not see you move him? let me alone 
with him. 

Fah. No way but gentleness ; gently, gently : the 
fiend is rough, and will not be roughly used. m 

Sir To. Why, how now, my bawcock ! how dost 
thou, chuck? 

Mai. Sir! 

Sir To. Ay, Biddy, come with me. What, man ! 
't is not for gravity to play at cherry-pit with Satan : 
hang him, foul collier ! 

Mar. Get him to say his prayers, good Sir Toby, 
get him to pray. 

Mai. My prayers, minx ! 120 

Mar. No, I warrant you, he will not hear of godli- 
ness. 

112. bawcock = my fine cock, heau cocq (Fr.) ; a term of 
encouragement. 

113. [chuck = chick.] 



Scene IV.] OR, WHAT YOU WILL. 71 

Mai. Go, hang yourselves all ! you are idle shallow 
things : I am not of your element : you shall know 
more hereafter. [Exit. 

Sir To. Is 't possible ? 

Fab, If this were play'd upon a stage now, I could 
condemn it as an improbable fiction. 

Sir To. His very genius hath taken the infection 
of the device, man. 130 

Mar. Nay, pursue him now, lest the device take air 
and taint. 

Fab. Why, we shall make him mad indeed. 

Mar. The house will be the quieter. 

Sir To. Come, we '11 have him in a dark room and 
bound. My niece is already in the belief that he 's 
mad : we may carry it thus, for our pleasure and his 
penance, till our very pastime, tired out of breath, 
prompt us to have mercy on him : at which time we 
will bring the device to the bar and crown thee for a 
finder of madmen. But see, but see. i4x 

Enter SiE Andrew. 
Fab. More matter for a May morning. 
Sir And. Here 's the challenge, read it : I warrant 
there 's vinegar and pepper in 't. 
Fab. Is 't so saucy ? 

Sir And. Ay, is 't, I warrant him : do but read. 
Sir To. Give me. 

\Reads.'\ Youth, whatsoever thou art, thou art but a scurvy 
fellow. 

Fab. Good, and valiant. iso 

Sir To. [Reads.'] Wonder not, nor admire not in thy mind, 
why I do call thee so, for I will show thee no reason for 't. 

Fab. A good note ; that keeps you from the blow 
of the law. 

129. His very genius = his inmost soul. 



72 TWELFTH NIGHT; [Act III. 

Sir To. {Reads. ~\ Thou comest to the Lady Olivia, and in 
my sight she uses thee kindly : but thou liest in thy throat ; that 
is not the matter I challenge thee for. 

Fab. Yevj brief, and to exceeding good sense — 
less. 

Sir To. {Reads.'] I will waylay thee going home; where if it 
be thy chance to kill me, — 161 

Fah. Good. 

Sir To. {Reads.'] Thou killest me like a rogue and a villain. 

Fab. Still you keep o' the windy side of the law : 

good. 

Sir To. {Reads.] Fare thee well ; and God have mercy upon 
one of our souls ! He may have mercy upon mine ; but my hope 
is better, and so look to thyself. Thy friend, as thou usest him, 
and thy sworn enemy, Andrew Aguecheek. 

If this letter move him not, his legs cannot : I '11 give 
't him. 171 

Mar. You may have very fit occasion for 't : he is 
now in some commerce with my lady, and will by and 
by depart. 

Sir To. Go, Sir Andrew ; scout me for him at the 
corner of the orchard like a bum-baily : so soon as 
ever thou seest him, draw ; and, as thou draw'st, swear 
horrible ; for it comes to pass oft that a terrible oath, 
with a swaggering accent sharply twang'd off, gives 
manhood more approbation than ever proof itself 
would have earn'd him. Away ! m 

/Sir And. Nay, let me alone for swearing. {Exit. 

Sir To. Now will not I deliver his letter : for the 
behaviour of the young gentleman gives him out to be 

164. [the -windy side = the side toward which the wind 
blows ; hence, the safe side for a hunted stag.] 

175. [me : see note on Act III., sc. ii., 1. 33.] 

176. [bum-baily = bailife.] 



Scene IV.] OB, WHAT YOU WILL. 73 

of good capacity and breeding; Ms employment be- 
tween his lord and my niece confirms no less : there- 
fore this letter, being so excellently ignorant, will 
breed no terror in the youth : he will find it comes 
from a clodpole. But, sir, I will deliver his challenge 
by word of mouth ; set upon Aguecheek a notable re- 
port of valour ; and drive the gentleman, as I know 
his youth will aptly receive it, into a most hideous 
opinion of his rage, skill, fury and impetuosity. This 
will so fright them both that they will kill one an- 
other by the look, like cockatrices. 

Re-enter Olivia, with Viola. 

Fah. Here he comes with your niece : give them 
way till he take leave, and presently after him. 

Sir To. I will meditate the while upon some hor- 
rid message for a challenge. 199 

[Exeunt Sir Toby, Fabian, and Maria. 

Oli. I have said too much unto a heart of stone 
And laid mine honour too unchary out : 
There 's something in me that reproves my fault ; 
But such a headstrong potent fault it is, 
That it but mocks reproof. 

Vio. With the same haviour that your passion 
bears 
Goes on my master's grief. 

Oli. Here, wear this jewel for me, 't is my picture ; 
Refuse it not ; it hath no tongue to vex you ; 
And I beseech you come again to-morrow. 
What shall you ask of me that I '11 deny, 210 

That honour saved may upon asking give ? 

195. cockatrice : a fabled serpent-like monster. [It was 
supposed to kill with a look ; see Richard TIL, Act IV., sc. i., 
lines 55, 56.] 

207. [je^wel : the term was used for any piece of jewelry.] 



74 TWELFTH NIGHT; [Act III. 

Vio. Nothing but this ; your true love for my 
master. 

OIL How with mine honour may I give him that 
Which I have given to you ? 

Vio. I will acquit you. 

Oli. Well, come again to-morrow : fare thee well : 
A fiend like thee might bear my soul to hell. [Exit. 
Be-enter Seb Toby and Fabian. 

Sir To. Gentleman, God save thee. 

Vio. And you, sir. 218 

/Sir To. That defence thou hast, betake thee to 't : 
of what nature the wrongs are thou hast done him, I 
know not ; but thy intercepter, full of despite, bloody 
as the hunter, attends thee at the orchard-end: dis- 
mount thy tuck, be yare in thy preparation, for thy 
assailant is quick, skilful and deadly. 

Vio. You mistake, sir ; I am sure no man hath any 
quarrel to me : my remembrance is very free and clear 
from any image of offence done to any man. 

Sir To. You '11 find it otherwise, I assure you: 
therefore, if you hold your life at any price, betake 
you to your guard ; for your opposite hath in him 
what youth, strength, skill and wrath can furnish man 
withal. 232 

Vio. I pray you, sir, what is he ? 

Sir To. He is knight, dubb'd with unhack'd rapier 

222. dismount thy tuck = draw thy sword. 

223. yare = nimble, ready. 

232. [withal : an emphatic form of with, placed after its ob- 
ject.] 

234. [unhack'd rapier : Pope's reading. The folio has " un- 
hatch'd," which probably means the same thing ; unless, indeed, 
the word be used metaphorically. In the latter case, how would 
you explain it ?] 



Scene IV.] OR, WHAT YOU WILL. 75 

and on carpet consideration ; but he is a devil in 
private brawl : souls and bodies hath he divorced 
three ; and his incensement at this moment is so im- 
placable, that satisfaction can be none but by pangs 
of death and sepulchre. Hob, nob, is his word ; give 't 
or take 't. 240 

Vio. I will return again into the house and desire 
some conduct of the lady. I am no fighter. I have 
heard of some kind of men that put quarrels purposely 
on others, to taste their valour : belike this is a man 
of that quirk. 

Sir To. Sir, no ; his indignation derives itself out 
of a very competent injury : therefore, get you on and 
give him his desire. Back you shall not to the house, 
unless you undertake that with me which with as 
much safety you might answer him : therefore, on, or 
strip your sword stark naked ; for meddle you must, 
that 's certain, or forswear to wear iron about you. 252 

Vio. This is as uncivil as strange. I beseech you, 
do me this courteous office, as to know of the knight 
what my offence to him is ; it is something of my neg- 
ligence, nothing of my purpose. 

Sir To. I will do so. Signior Fabian, stay you by 
this gentleman till my return. [.Exit. 

Vio. Pray you, sir, do you know of this matter ? 

Fah. I know the knight is incensed against you, 
even to a mortal arbitrement ; but nothing of the cir- 
cumstance more. 262 

235. [on carpet consideration = on some ground connected 
with matters of peace rather than of war.] 

239. hob, nob = hab, nab= habban, nabban (A. S.) = have, 
not have, hit or miss, take or leave. 

245. [quirk = caprice.] 

251. [meddle = take part, engage in the action.] 



76 TWELFTH NIGHT; [Act III. 

Vio. I beseech you, what manner of man is he ? 

Fah. Nothing of that wonderful promise, to read 
him by his form, as you are like to find him in the 
proof of his valour. He is, indeed, sir, the most skil- 
ful, bloody and fatal opposite that you could possibly 
have found in any part of Illyria. Will you walk 
towards him ? I will make your peace with him if I 
can. 270 

Vio. I shall be much bound to you for 't : I am one 
that had rather go with sir priest than sir knight : I 
care not who knows so much of my mettle. [Exeunt. 
Re-enter Sik Toby, with Sir Andrew. 

Sir To. Why, man, he 's a very devil ; I have not 
seen such a firago. I had a pass with him, rapier, 
scabbard and all, and he gives me the stuck in with 
such a mortal motion, that it is inevitable ; and on the 
answer, he pays you as surely as your feet hit the 
ground they step on. They say he has been fencer to 
the Sophy. 28O 

Sir And. Pox on 't, I '11 not meddle with him. 

Sir To. Ay, but he will not now be pacified : Fa- 
bian can scarce hold him yonder. 

Sir And. Plague on 't, an I thought he had been 
valiant and so cunning in fence, I 'd have seen him 
damn'd ere I 'd have challenged him. Let him let 
the matter slip, and I '11 give him my horse, grey 
Capilet. 

Sir To. I '11 make the motion : stand here, make a 
good show on 't : this shall end without the perdition 
of souls. [Aside.^ Marry, I '11 ride your horse as 
well as I ride you. 292 

275. [firago = virago ; properly feminine.] 

276. [stuck = a thrust in fencing. Possibly we are to read 
Btuck in as a compound expression.] 



Scene IV.] OR, WHAT YOU WILL. 11 

Re-enter Fabian and Viola. 
[^To FahJ] I have his horse to take up the quarrel : I 
have persuaded him the youth 's a devil. 

Fah, He is as horribly conceited of him ; and pants 
and looks pale, as if a bear were at his heels. 

Sir To. [To Vio.~\ There's no remedy, sir; he 
will fight with you for 's oath sake : marry, he hath 
better bethought him of his quarrel, and he finds that 
now scarce to be worth talking of : therefore draw, 
for the supportance of his vow ; he protests he will 
not hurt you. 302 

Vio, [^AsideJ] Pray God defend me ! A little 
thins: would make me tell them how much I lack of a 
man. 

Fah. Give ground, if you see him furious. 

Sir To. Come, Sir Andrew, there 's no remedy ; 
the gentleman will, for his honour's sake, have one 
bout with you ; he cannot by the duello avoid it : but 
he has promised me, as he is a gentleman and a sol- 
dier, he will not hurt you. Come on ; to 't. 311 

Sir And, Pray God, he keep his oath ! 

Vio, I do assure you, 't is against my will. 

[They draw. 
Enter Antonio. 
Ant. Put up your sword. If this young gentleman 
Have done offence, I take the fault on me : 
If you offend him, I for him defy you. 
Sir To. You, sir ! why, what are you ? 

295. [as horribly conceited of him = made to conceive 
(imagine) things as horrible in regard to him.] 

298. [oath sake : an omission of the possessive inflection, 
for euphony, frequent in Shakespeare with words of two sylla- 
bles.] 

309. the duello = the duelling code. 



78 TWELFTH NIGHT; [Act III. 

Ant. One, sir, tliat for his love dares yet do more 
Than you have heard him brag to you he will. 319 

Sir To. Nay, if you be an undertaker, I am for you. 

[They draw. 
Enter Officers. 

Fab, O good Sir Toby, hold! here come the 
officers. 

Sir To. I '11 be with you anon. 

Vio. Pray, sir, put your sword up, if you please. 

Sir And. Marry, will I, sir ; and, for that I pro- 
mised you, I '11 be as good as my word : he will bear 
you easily and reins well. 

First Off. This is the man ; do thy office. 

Sec. Off. Antonio, I arrest thee at the suit of 
Count Orsino. 330 

Ant. You do mistake me, sir. 

First Off. No, sir, no jot ; I know your favour well, 
Though now you have no sea-cap on your head. 
Take him away : he knows I know him well. 

Ant. I must obey. [2b Vio.'\ This comes with 
seeking you : 
But there 's no remedy ; I shall answer it. 
What will you do ? Now my necessity 
Makes me to ask you for my purse. It grieves me 
Much more for what I cannot do for you 

320. undertaker. This word was applied in Shakespeare's 
time to those who undertook any sort of business for others. 
337, 338. [Generally punctuated thus : — 

" What will you do, now my necessity 
Makes me to ask you for my purse ? ' ' 

The present punctuation, which follows the later folios, seems 
preferable, as Antonio's anxiety is based on Sebastian's inexperi- 
ence rather than his lack of funds. Sebastian had some money, 
though it was " not for idle markets."] 



Scene IV.] OR, WHAT YOU WILL. 79 

Than wliat befalls myself. You stand amazed : 340 
But be of comfort. 

Sec. Off. Come, sir, away. 

Ant. I must entreat of you some of that money. 

Vio. What money, sir ? 
For the fair kindness you have show'd me here, 
And, part, being prompted by your present trouble, 
Out of my lean and low ability 
I '11 lend you something : my having is not much ; 
I '11 make division of my present with you : 349 

Hold, there 's half my coffer. 

Ant. Will you deny me now ? 

Is 't possible that my deserts to you 
Can lack persuasion ? Do not tempt my misery, 
Lest that it make me so unsound a man 
As to upbraid you with those kindnesses 
That I have done for you. 

Vio. I know of none ; 

Nor know I you by voice or any feature : 
I hate ingratitude more in a man 
Than lying, vainness, babbling, drunkenness. 
Or any taint of vice whose strong corruption 
Inhabits our frail blood. 

Ant. O heavens themselves ! zm 

Sec. Off. Come, sir, I pray you, go. 

Ant. Let me speak a little. This youth that you 
see here 
I snatch'd one half out of the jaws of death. 
Relieved him with such sanctity of love, 
And to his image, which methought did promise 
Most venerable worth, did I devotion. 

First Off. What 's that to us ? The time goes by: 
away! 

348. [my having = what I have, the amount of my posses- 
sions ; supply the same word after present.'] 



80 TWELFTH NIGHT; [Act III. Sc. IV. 

Ant. But O how vile an idol proves this god ! 
Thou hast, Sebastian, done good feature shame. 
In nature there 's no blemish but the mind ; 370 

None can be call'd deform' d but the unkind : 
Virtue is beauty, but the beauteous evil 
Are empty trunks o'erflourish'd by the devil. 

First Off. The man grows mad : away with him ! 
Come, come, sir. 

Ant. Lead me on. - {Exit with Officers. 

Vio. Methinks his words do from such passion 

fly. _ 

That he believes himself : so do not I. 

Prove true, imagination, O, prove true, 

That I, dear brother, be now ta'en for you ! 379 

Sir To. Come hither, knight ; come hither, Fabian : 
we '11 whisper o'er a couplet or two of most sage saws. 

Vio. He named Sebastian : I my brother know 
Yet living in my glass ; even such and so 
In favour was my brother, and he went 
Still in this fashion, colour, ornament ; 
For him I imitate : O, if it prove, 
Tempests are kind and salt waves fresh in love. [Exit. 

Sir To. A very dishonest paltry boy, and more a 
coward than a hare : his dishonesty appears in leaving 
his friend here in necessity and denying him ; and for 
his CO wardship, ask Fabian. 391 

Fab. A coward, a most devout coward, religious 
in it. 

Sir And, 'Slid, I '11 after him again and beat him. 

Sir To. Do ; cuff him soundly, but never draw thy 
sword. 

369. [feature = appearance.] 

394. 'Slid = by God's lid (eyelid). [See note on Act II., 
sc. v., 1. 34.] 



ActIV. Sc. L] OR, WHAT YOU WILL. 81 

Sir And. An I do not, — [Exit. 
Fah. Come, let 's see the event. 

Sir To. I dare lay any money 't will be nothing 

yet. [Exeunt, 



ACT IV. 

ScEiraj I. Before Olivia's house. 
Enter Sebastian and Clown. 

Clo. Will you make me believe that I am not sent 
for you ? 

Seh. Go to, go to, thou art a foolish fellow : 
Let me be clear of thee. 

Clo. Well held out, i' faith ! No, I do not know 
you ; nor I am not sent to you by my lady, to bid you 
come speak with her ; nor your name is not Master 
Cesario ; nor this is not my nose neither. Nothing 
that is so is so. 

Seh. I prithee, vent thy folly somewhere else : lo 
Thou know'st not me. 

Clo. Vent my folly ! he has heard that word of 
some great man and now applies it to a fool. Vent 
my folly ! I am afraid this great lubberly word will 

3. Go to : here equivalent to " Stop your nonsense ; " see 
note on Act II., sc. v., 1. 156.] 

14. lubberly word : that is, vent, which, in the sense of 
utter, was affectedly used in Shakespeare's day. The clown 
fears it will prove a cockney ; that is, be petted and adopted. 
[This reading, however, is Donee's, adopted by Mr. White. 
The folio reads, "this great lubber the World." If this be cor- 
rect, the whole passage means : " I am afraid this great lubber, 
the age " (a Shakespearian expression, both in the personifica- 
tion and in the sense of world), " will turn out to be an affected 
creature."] 



82 TWELFTH NIGHT; [Act IV. 

prove a cockney. I prithee now, ungird thy strange- 
ness and tell me what I shall vent to my lady : shall I 
vent to her that thou art coming ? 

Seh. I prithee, foolish Greek, depart from me : 
There 's money for thee : if you tarry longer, 
I shall give worse payment. 20 

Clo. By my troth, thou hast an open hand. These 
wise men that give fools money get themselves a good 
report — after fourteen years' purchase. 

Enter Sib Andrew, Sir Toby, and Fabian. 

Sir And. Now, sir, have I met you again ? there 's 
for you. 

Seb. Why, there *s for thee, and there, and there. 
Are all the people mad? 

Sir To. Hold, sir, or I '11 throw your dagger o'er 
the house. 29 

Clo. This will I tell my lady straight : I would not 
be in some of your coats for two pence. [_Exit. 

Sir To. Come on, sir ; hold. 

Sir And. Nay, let him alone : I '11 go another way 
to work with him ; I '11 have an action of battery 
against him, if there be any law in lUyria : though I 
struck him first, yet it's no matter for that. 

Seh. Let go thy hand. 

Sir To. Come, sir, I will not let you go. Come, 
my young soldier, put up your iron : you are well 
flesh'd ; come on. 40 

18. Greek = jester. [Frequently so used in the sixteenth 
century. The practical joker in Ralph Roister Doister is " Mat- 
thew Merrygreek."] 

39. [you are well flesh'd. This has been explained as 
"made eager for combat, as a dog fed with flesh." " Flesh- 
ment " is elsewhere found meaning " the encouragement of a 
first success."] 



Scene I.] OR, WHAT YOU WILL. 83 

Seh. I will be free from thee. What wouldst thou 



now 



9 



If thou darest tempt me further, draw thy sword. 

Sir To. What, what ? Nay, then I must have an 
ounce or two of this malapert blood from you. 

Enter Olivia. 

Oli. Hold, Toby ; on thy life I charge thee, hold ! 

Sir To. Madam ! 

Oli. Will it be ever thus ? Ungracious wretch, 
Fit for the mountains and the barbarous caves, 
Where manners ne'er were preach'd ! out of my sight ! 
Be not offended, dear Cesario. 50 

Rudesby, be gone ! [Exeunt Sir Toby, Sir Andrew, and Fabian. 

I prithee, gentle friend, 
Let thy fair wisdom, not thy passion, sway 
In this uncivil and unjust extent 
Against thy peace. Go with me to my house, 
And hear thou there how many fruitless pranks 
This ruffian hath botch'd up, that thou thereby 
Mayst smile at this : thou shalt not choose but go : 
Do not deny. Beshrew his soul for me. 
He started one poor heart of mine in thee. 59 

Seh. What relish is in this ? how runs the stream ? 
Or I am mad, or else this is a dream : 
Let fancy still my sense in Lethe steep ; 
If it be thus to dream, still let me sleep ! 

Oli. Nay, come, I prithee ; would thou 'dst be ruled 
by me ! 

Seh. Madam, I will. 

Oli. O, say so, and so be ! [Exeunt 

51. [Rudesby: see Taming of the Shrew, Act III., sc. ii., 
1. 10.] 

53. extent = intrusion, aggression. 



84 TWELFTH NIGHT ^ [Act IV. 

Scene II. Olivia's house. 

Enter Maria and Clown. 

Mar. Nay, I pritbee, put on this gown and this 
beard ; make him believe thou art Sir Topas the cu- 
rate : do it quickly ; I '11 call Sir Toby the whilst. [Exit. 

Clo. Well, I '11 put it on, and I will dissemble my- 
self in 't ; and I would I were, the first that ever dis- 
sembled in such a gown. I am not tall enough to be- 
come the function well, nor lean enough to be thought 
a good student ; but to be said an honest man and a 
good housekeeper goes as fairly as to say a careful 
man and a great scholar. The competitors enter, lo 
Enter Sir Toby and Maria. 

Sir To. Jove bless thee, master Parson. 

Clo. Bonos dies, Sir Toby : for, as the old hermit 
of Prague, that never saw pen and ink, very wittily 
said to a niece of King Gorboduc, " That that is is ; '.' 
so I, being master Parson, am master Parson ; for, 
what is " that " but " that," and " is " but " is " ? 

/Sir To. To him. Sir Topas. 

Clo. What, ho, I say ! peace in this prison ! 

Sir To. The knave counterfeits well ; a good knave. 

Mai. [ Within.^ Who calls there ? 20- 

Clo. Sir Topas the curate, who comes to visit Mal- 
volio the lunatic. 

3IaL Sir Topas, Sir Topas, good Sir Topas, go to 
my lady. 

Clo. Out, hyperbolical fiend ! how vexest thou this 
man ! talkest thou nothing but of ladies ? 

Sir To. Well said, master Parson. 

10. [Competitors = confederates. (Mason.)] 

12. Bonos dies = good day. Feste means to speak Latin. 

14. Gorboduc = a British king, real or imaginary. 



Scene II.] OR, WHAT YOU WILL. 85 

Mai. Sir Topas, never was man thus wronged: 
good Sir Topas, do not think I am mad : they have 
laid me here in hideous darkness. so 

Clo, Fie, thou dishonest Satan ! I call thee by the 
most modest terms ; for I am one of those gentle ones 
that will use the devil himself with courtesy : say'st 
thou that house is dark ? 

Mai. As hell, Sir Topas. 

Clo, Why, it hath bay windows transparent as 
barricadoes, and the clearstories toward the south 
north are as lustrous as ebony ; and yet complainest 
thou of obstruction ? 

Mai. I am not mad. Sir Topas : I say to you, this 
house is dark. 4i 

Clo. Madman, thou errest : I say, there is no dark- 
ness but ignorance ; in which thou art more puzzled 
than the Egyptians in their fog. 

Mai. I say, this house is as dark as ignorance, 
though ignorance were as dark as hell ; and I say, 
there was never man thus abused. I am no more mad 
than you are : make the trial of it in any constant 
question. 

Clo. What is the opinion of Pythagoras concerning 
wild fowl ? 51 

Mai. That the soul of our grandam might haply 
inhabit a bird. 

Clo. What think'st thou of his opinion ? 

Mai. I think nobly of the soul, and no way approve 
his opinion. 

Clo. Fare thee well. Remain thou still in dark- 
ness : thou shalt hold the opinion of Pythagoras ere I 
will allow of thy wits, and fear to kill a woodcock, lest 
thou dispossess the soul of thy grandam. Fare thee 
well. 61 



86 TWELFTH NIGHT; [Act IV. 

Mai. Sir Topas, Sir Topas ! 

Sir To, My most exquisite Sir Topas ! 

Clo, Nay, I am for all waters. 

Mar. Thou might' st have done this without thy 
beard and gown : he sees thee not. 

Sir To. To him in thine own voice, and bring me 
word how thou find'st him : I would we were well rid of 
this knavery. If he may be cpnveniently deliver'd, I 
would he were, for I am now so far, in offence with my 
niece that I cannot pursue with any safety this sport 
to the upshot. Come by and by to my chamber. 72 

[Exeunt Sir Toby and Maria. 

Clo. \_Singing.~\ 

Hey, Robin, jolly Robin, 
Tell me how thy lady does. 

Mai. Fool! 

Clo. " My lady is unkind, perdy." 

Mai. Fool! 

Clo. " Alas, why is she so ? " 

Mai. Fool, I say ! 

Clo. " She loves another " — Who calls, ha ? so 

Mai. Good fool, as ever thou wilt deserve well at» 
my hand, help me to a candle, and pen, ink and pa- 
per : as I am a gentleman, I will live to be thankful 
to thee for 't. 

Clo. Master Malvolio ? 

Mai. Ay, good fool. 

Clo. Alas, sir, how fell you besides your five wits ? 

Mai. Fool, there was never man so notoriously 
abused : I am as well in my wits, fool, as thou art. 89 

Clo. But as well ? then you are mad indeed, if you 
be no better in your wits than a fool. 

64. for all -waters = ready for anything. [Possibly Feste is 
punning on topaz, a gem ; see the technical use of water in rela- 
tion to a jewel, Standard Dictionary.] 

76. [perdy = par Dieu ; verily.] 



Scene IL] OR, WHAT YOU WILL. 8T 

Mai. They have here propertied me ; keep me in 
darkness, send ministers to me, asses, and do all they 
can to face me out of my wits. 

Clo. Advise you what you say ; the minister is 
here. Malvolio, Malvolio, thy wits the heavens re- 
store ! endeavour thyself to sleep, and leave thy vain 
bibble babble. 

Mai, Sir Topas ! 99 

Clo. Maintain no words with him, good fellow. — 
Who, I, sir? not I, sir. God be wi' you, good Sir 
Topas. — Marry, amen. — I will, sir, I will. 

Mai. Fool, fool, fool, I say ! 

Clo. Alas, sir, be patient. What say you, sir ? I 
am shent for speaking to you. 

Mai. Good fool, help me to some light and some 
paper : I tell thee, I am as well in my wits as any man 
in lUyria. 

Clo. Well-a-day that you were, sir ! 109 

Mai. By this hand, I am. Good fool, some ink, 
paper, and light ; and convey what I will set down to 
my lady : it shall advantage thee more than ever the 
bearing of letter did. 

Clo. I will help you to 't. But tell me true, are 
you not mad indeed ? or do you but counterfeit ? 

Mai. Believe me, I am not ; I tell thee true. 

Clo. Nay, I '11 ne'er believe a madman till I see his 
brains. I will fetch you light and paper and ink. 

Mai. Fool, I '11 requite it in the highest degree : I 
prithee, be gone. 120 

92. [propertied = treated as a chattel.] 
96. Malvolio, Malvolio. Here the Clown speaks again like 
the priest, and in his next speech dialogues as priest and fool. 
105. [shent = scolded.] 
109. [Well-a-day = alas.] 



88 TWELFTH NIGHT; [Act IV. 

Clo, [Singing. "] 

I am gone, sir, 

And anon, sir, 
I '11 be with you again, 

In a trice, 

Like to the old Vice, 
Your need to sustain; 

Who, with dagger of lath, 
In his rage and his wrath, 

Cries, ah, ha! to the Devil: 
Like a mad lad, 130 

Pare thy nails, dad; 
Adieu, goodman DevU. [Exit. 



Scene III. Olivia's garden. 

Enter Sebastian. 
Seh. This is tlie air ; that is the glorious sun ; 
This pearl she gave me ; I do feel 't and see 't ; 
And though 't is wonder that enwraps me thus, 
Yet 't is not madness. Where 's Antonio, then ? 
I could not find him at the Elephant : 
Yet there he was ; and there I found this credit, 
That he did range the town to seek me out. 
His counsel now might do me golden service ; 
For though my soul disputes well witji my sense, 
That this may be some error, but no madness, lo 

Yet doth this accident and flood of fortune 
So far exceed all instance, all discourse. 
That I am ready to distrust mine eyes 

125. the old Vice. The reference is to the Vice, a stock 
character in the old Moralities ; he used to beat the Devil with 
a sword of lath. 

6. [credit : apparently used here for " current belief," though 
it sometimes means " intelligence, report by word of mouth."] 



Scene III.] OR, WHAT YOU WILL. 89 

And wrangle with my reason that persuades me 
To any other trust but that I am mad, 
Or else the lady 's mad ; yet, if 't were so. 
She could not sway her house, command her follow- 
ers, 
Take and give back affairs and their dispatch 
With such a smooth, discreet and stable bearing 
As I perceive she does : there 's something in 't 20 

That is deceivable. But here the lady comes. 

Enter Olivia and Priest. 

Oli. Blame not this haste of mine. If you mean 
well, 
Now go with me and with this holy man 
Into the chantry by : there, before him, 
And underneath that consecrated roof. 
Plight me the full assurance of your faith ; 
That my most jealous and too doubtful soul 
May live at peace. He shall conceal it 
While you are willing it shall come to note, 
What time we will our celebration keep 30 

According to my birth. What do you say ? 

Seh. I '11 follow this good man, and go with you ; 
And, having sworn truth, ever will be true. 

OIL Then lead the way, good father ; and heavens 
so shine, 
That they may fairly note this act of mine ! [Exeunt. 

21. [deceivable = deceiving. See note on Act II., sc. i., 
1. 26.] 

27. [jealous = anxious, apprehensive. See Act III., sc. iii., 
1.8.] 

29. While = until 



90 ^ TWELFTH NIGHT; [Act V. 

ACT V. 

Scene I. Before Olivia's house. 

Enter Clown and Fabian. 

Fah. Now, as thou lovest me, let me see his letter. 

Clo. Good Master Fabian, grant me another re- 
quest. 

Fab. Any thing. 

Clo. Do not desire to see this letter. 

Fah. This is, to give a dog, and in recompense de- 
sire my dog again. 

Enter Duke, Viola, Curio, and Lords. 

Duhe. Belong you to the Lady Olivia, friends ? 

Clo. Aj^ sir ; we are some of her trappings. 

Duhe. I know thee well : how dost thou, my good 
fellow ? 11 

Clo. Truly, sir, the better for my foes and the worse 
for my friends. 

Duke. Just the contrary ; the better for thy friends. 

Clo. No, sir, the worse. 

Duhe. How can that be ? 

Clo. Marry, sir, they praise me and make an ass of 
me ; now my foes tell me plainly I am an ass : so that 
by my foes, sir, I profit in the knowledge of myself, 
and by my friends I am abused : so that, conclusions 
to be as kisses, if your four negatives make your two 
affirmatives, why then, the worse for my friends and 
the better for my foes. 23 

Duhe. Why, this is excellent. 

Clo. By my troth, sir, no ; though it please you to 
be one of my friends. 

Duhe. Thou shalt not be the worse for me : there 's 
gold. 



Scene!.] OR, WHAT YOU WILL. 91 

Clo. But that it would be double-dealing, sir, I 
would you could make it another. 30 

Duke. O, you give me ill counsel. 

Clo. Put your grace in your pocket, sir, for this 
once, and let your flesh and blood obey it. 

Duke. Well, I will be so much a sinner, to be a 
double-dealer : there 's another. 

Clo. Primo^ secundo^ tertio^ is a good play ; and 
the old saying is, the third pays for all : the triplex, 
sir, is a good tripping measure ; or the bells of Saint 
Bennet, sir, may put you in mind ; one, two, three. 39 

Duke. You can fool no more money out of me at 
this throw : if you will let your lady know I am here 
to speak with her, and bring her along with you, it 
may awake my bounty further. 

Clo. Marry, sir, lullaby to your bounty till I come 
again. I go, sir ; but I would not have you to think 
that my desire of having is the sin of covetousness ; 
but, as you say, sir, let your bounty take a nap, I will 
awake it anon. \_Exit. 

Vio. Here comes the man, sir, that did rescue me. 
Enter Antonio and Officers. 

Duke. That face of his I do remember well ; 50 
Yet, when I saw it last, it was besmear'd 
As black as Vulcan in the smoke of war : 
A bawbling vessel was he captain of. 
For shallow draught and bulk unprizable; 
With which such scathful grapple did he make 
With the most noble bottom of our fleet, 

38. Saint Bennet. This church stood by Paul's wharf in 

London. 

53. [bawbling = insignificant, like a mere toy.] 

56. [bottom = ship, by synecdoche. What parallel do you 

find in Latin ?] 



92 TWELFTH NIGHT; [Act V. 

That very envy and the tongue of loss 

Cried fame and honour on him. What 's the matter ? 

First Off. Orsino, this is that Antonio 59 

That took the Phoenix and her fraught from Candy ; 
And this is he that did the Tiger board, 
When your young nephew Titus lost his leg : 
Here in the streets, desperate of shame and state, 
In private brabble did we apprehend him. 

Vio. He did me kindness, sir, drew on my side ; 
But in conclusion put strange speech upon me : 
I know not what 't was but distraction. 

Duke. Notable pirate ! thou salt-water thief ! 
What foolish boldness brought thee to their mercies, 
Whom thou, in terms so bloody and so dear, 70 

Hast made thine enemies ? 

Ant. Orsino, noble sir. 

Be pleased that I shake off these names you give me : 
Antonio never yet was thief or pirate. 
Though I confess, on base and ground enough, 
Orsino's enemy. A witchcraft drew me hither : 
That most ingrateful boy there by your side. 
From the rude sea's enraged and foamy mouth 
Did I redeem ; a wrack past hope he was : 
His life I gave him and did thereto add 
My love, without retention or restraint, so 

All his in dedication : for his sake 
Did I expose myself, pure for his love, 
Into the danger of this adverse town ; 
Drew to defend him when he was beset : 
Where being apprehended, his false cunning, 
Not meaning to partake with me in danger. 
Taught him to face me out of his acquaintance. 
And grew a twenty years removed thing 
While one would wink ; denied me mine own purse, 



Scene!.] OR, WHAT YOU WILL. 93 

Which I had recommended to his use 90 

Not half an hour before. 

Vio. How can this be? 

Duke. When came he to this town ? 

A nt. To-day, my lord ; and for three months be- 
fore, 
No interim, not a minute's vacancy. 
Both day and night did we keep company. 

Enter OuviA and Attendants. 

Duke. Here comes the countess : now heaven walks 
on earth. 
But for thee, fellow ; fellow, thy words are madness : 
Three months this youth hath tended upon me ; 
But more of that anon. Take him aside. 

on. What would my lord, but that he may not 
have, 100 

Wherein Olivia may seem serviceable ? 
Cesario, you do not keep promise with me. 

Vio. Madam ! 

Duke. Gracious Olivia, — 

Oli. What do you say, Cesario ? Good my lord, — 

Vio. My lord would speak ; m}^ duty hushes me. 

Oli. If it be aught to the old tune, my lord, 
It is as fat and fulsome to mine ear 
As howling after music. 

Duke. Still so cruel? 

Oli. Still so constant, lord. uo 

Duke. What, to perverseness ? you uncivil lady, 
To whose ingrate and unauspicious altars 
My soul the faithfull'st offerings hath breathed out 
That e'er devotion tender'd ! What shall I do ? 

Oli. Even what it please my lord, that shall be- 
come him. 

Duke. Why should I not, had I the heart to do it, 



94 TWELFTH NIGHT; [Act V. 

Like to the Egyptian thief at point of death, 

Kill what I love ? — a savage jealousy 

That sometime savours nobly. But hear me this : 

Since you to non-regardance cast my faith, 120 

And that I partly know the instrument 

That screws me from my true place in your favour. 

Live you the marble-breasted tyrant still ; 

But this your minion, whom I know you love, 

And whom, by heaven I swear, I tender dearly. 

Him will I tear out of that cruel eye, 

Where he sits crowned in his master's spite. 

Come, boy, with me ; my thoughts are ripe in mischief : 

I '11 sacrifice the lamb that I do love. 

To spite a raven's heart within a dove. 130 

Via. And I, most jocund, apt and willingly, 
To do you rest, a thousand deaths would die. 

OIL Where goes Cesario ? 

Vio. After him I love 

More than I love these eyes, more than my life. 
More, by all mores, than e'er I shall love wife. 
If I do feign, you witnesses above 
Punish my life for tainting of my love ! 

Oli. A.J me, detested ! how am I beguiled ! 

Vio. Who does beguile you? who does do you 
wrong ? 

Oli. Hast thou forgot thyself ? is it so long ? i4o 
Call forth the holy father. [Attendant goes out. 

Duke. Come, away ! 

117. Egyptian thief. This Egyptian was Thyamis, chief of 
a band of robbers, who, surrounded by enemies and desperate, 
killed, as he supposed, his mistress before dying himself. 

129, 130. [Is it conceivable that Orsino would have the 
heart to fulfil his threat ? How is the utterance in keeping with 
his character ?] 



Scene L] OR, WHAT YOU WILL. 95 

OIL Whither, my lord ? Cesario, husband, stay. 

Duke. Husband ! 

Oli. Ay, husband : can he that deny ? 

Duke. Her husband, sirrah ! 

Yio. No, my lord, not I. 

Oli. Alas, it is the baseness of thy fear 
That makes thee strangle thy propriety : 
Fear not, Cesario ; take thy fortunes up ; 
Be that thou know'st thou art, and then thou art 
As great as that thou fear'st. 

Enter Attendant and Priest. 

O, welcome, father ! 
Father, I charge thee, by thy reverence, 150 

Here to unfold, though lately we intended 
To keep in darkness what occasion now 
Keveals before 't is ripe, what thou dost know 
Hath newly pass'd between this youth and me. 

Priest. A contract of eternal bond of love, 
Confirm'd by mutual joinder of your hands, 
Attested by the holy close of lips, 
Strengthen'd by interchangement of your rings ; 
And all the ceremony of this compact 
Seal'd in my function, by my testimony : leo 

Since when, my watch hath told me, toward my 

grave 
I have travelFd but two hours. 

Duke. O thou dissembling cub ! what wilt tbou 
be 
When time hath sow'd a grizzle on thy case ? 
Or will not else thy craft so quickly grow. 
That thine own trip shall be thine overthrow ? 
Farewell, and take her ; but direct thy feet 
Where thou and I henceforth may never meet. 
146. [propriety = ownership.] 



96 TWELFTH NIGHT; [Act V. 

Vio, My lord, I do protest — 

Oli. O, do not swear ! 

Hold little faith, though thou hast too much fear, no 

Enter Sm Andrew with his head broken. 

Sir And. For the love of God, a surgeon ! Send 
one presently to Sir Toby. 

Oil What 's the matter ? 

Sir And. He has broke my head across and has 
given Sir Toby a bloody coxcomb too : for the love of 
God, your help ! I had rather than forty pound I 
were at home. 

Oli. Who has done this. Sir Andrew ? 

Sir And. The count's gentleman, one Cesario : we 
took him for a coward, but he 's the very devil incar- 
dinate. isi 

Duke. My gentleman, Cesario? 

Sir And. 'Od's lifelings, here he is ? You broke 
my head for nothing ; and that that I did, I was set 
on to do 't by Sir Toby. 

Vio. Why do you speak to me ? I never hurt you : 
You drew your sword upon me without cause ; 
But I bespake you fair, and hurt you not. 

Sir And. If a bloody coxcomb be a hurt, you have 
hurt me : I think you set nothing by a bloody cox- 
comb. 191 
Enter Sir Toby drunk, led by the Clown. 

Here comes Sir Toby halting ; you shall hear more ; 

170. [Apparently this means " a little faith."] 
175. [coxcomb. A fool's cap was ornamented with an imi- 
tation of a cock's comb ; hence, probably, the cant use of this 
word for the head, and also for a silly fellow.] 

183. ['Od's lifelings ! One of the faded oaths formerly com- 
mented on : literally, "by God's little lives." See As You Like 
It, Act IV., sc. v., 1. 43.] 



Scene!.] OR, WHAT YOU WILL. 97 

but if he had not been in drink, he would have tickled 
jou othergates than he did. 

Duke. How now, gentleman ! how is 't with you? 

Sir To. That 's all one : has hurt me, and there 's 
the end on 't. Sot, didst see Dick surgeon, sot ? 

Clo. O, he 's drunk. Sir Toby, an hour agone ; his 
eyes were set at eight i' th' morning. 

Sir To. Then he 's a rogue, and a passy measures 
panym : I hate a drunken rogue. 201 

OIL Away with him ! Who hath made this havoc 
with them ? 

Sir And. I '11 help you. Sir Toby, because we '11 be 
dress'd together. 

Sir To. Will you help? an ass-head and a cox- 
comb and a knave, a thin-faced knave, a gull ! 

Oli. Get him to bed, and let his hurt be look'd to. 

\_Exeunt Clown, Fabian, Sir Toby, and Sir Andrew. 

194. [othergates = otherwise.] 

200. passy measures panym. Much dispute about this 
passage, and many emendations of what seems after all a mere 
effort to say, with drunken bombast, a passing measure (that is, 
egregious) paynim. [The folio reads, "a passy measures pa- 
nyn ; " passy measure was the name of a dance ; so was pavin 
OT pavyon. Some editors think the folio text a misprint for the 
combined expression. Naylor, quoted by Dr. Furness in the 
Variorum edition, p. 297, connects passy measures pavin with 
1. 199. " The Passamezzo tune . . . consists of regular ' strains,' 
which in their turn contain a certain even number of semibreves 
or 'bars.' In the case given, the strains consist of eight bars 
each. . . . The doctor's eyes were ' set at eight,' and so is a 
Pavan * set at eight.' " In favor of the present reading it must 
be said that " paynim " is certainly a word after Toby's own 
heart. Whether he uses passy measures in the sense supposed by 
Mr. White, or invents an epithet connecting his " paynim " with 
a dance, it would be hard to say.] 



98 TWELFTH NIGHT ^ [Act V. 

Enter Sebastian. 

Seh. I am sorry, madam, I have hurt your kins- 
man; 
But, had it been the brother of my blood, 210 

I must have done no less with wit and safety. 
You throw a strange regard upon me, and by that 
I do perceive it hath offended you : 
Pardon me, sweet one, even for the vows 
We made each other but so late ago. 

Duhe, One face, one voice, one habit, and two per- 
sons, 
A natural perspective, that is and is not ! 

Seb. Antonio, O my dear Antonio ! 
How have the hours rack'd and tortured me, 
Since I have lost thee ! 220 

Ant, Sebastian ? are you ? 

Seh. Fear'st thou that, Antonio? 

Ant, How have you made division of yourself ? 
An apple, cleft in two, is not more twin 
Than these two creatures. Which is Sebastian? 

Oil, Most wonderful ! 

Seb, Do I stand there ? I never had a brother ; 
Nor can there be that deity in my nature. 
Of here and every where. I had a sister, 
Whom the blind waves and surges have devoured. 
Of charity, what kin are you to me ? 230 

What countryman ? what name ? what parentage ? 

Yio. Of Messaline : Sebastian was my father ; 
Such a Sebastian was my brother too. 
So went he suited to his watery tomb : 
If spirits can assume both form and suit 
You come to fright us. 

217. perspective. This term was applied to all kiuds of 
optical instruments, some of which efPected illusions. 
234, 235. [suited = clad, suit = dress.] 



Scene!.] OR, WHAT YOU WILL. 99 

Seh. A spirit I am indeed ; 

But am in that dimension grossly clad 
Which from the womb I did participate. 
Were you a woman, as the rest goes even, 
I should my tears let fall upon your cheek, 240 

And say " Thrice welcome, drowned Viola ! " 

Yio. My father had a mole upon his brow. 

Seh. And so had mine. 

Vio. And died that day when Viola from her birth 
Had number'd thirteen years. 

Seh. O, that record is lively in my soul ! 
He finished indeed his mortal act 
That day that made my sister thirteen years. 

Vio. If nothing lets to make us happy both 
But this my masculine usurp'd attire, 250 

Do not embrace me till each circumstance 
Of place, time, fortune, do cohere and jump 
That I am Viola : which to confirm, 
I '11 bring you to a captain in this town. 
Where lie my maiden weeds ; by whose gentle help 
I was preserved to serve this noble count. 
All the occurrence of my fortune since 
Hath been between this lady and this lord. 

Seh. \^To Olivia. ~\ So comes it, lady, you have been 
mistook : 
But nature to her bias drew in that. 260 

You would have been contracted to a maid ; 

237. [dimension = form. See Act I., sc. v., 1. 265. grossly: 
compare Merchant of Venice, Act V., sc. i., 1. 65.] 

249. lets = hinders. 

252. [jump = agree.] 

260. [bias : a metaphor from the game of bowls. See Tarn-' 
ing of the Shrew, Act IV., sc. v., Hnes 24, 25 ; also Hamlet^ River- 
side Literature Series, p. 52.] 

LofC. 



100 TWELFTH NIGHT; [Act V. 

Nor are you therein, by my life, deceived, 
You are betroth'd botli to a maid and man. 

Duke. Be not amazed ; right noble is his blood. 
If this be so, as yet the glass seems true, 
I shall have share in this most happy wrack. 
[To Viola.'] Boy, thou hast said to me a thousand 

times 
Thou never shouldst love woman like to me. 

Vio. And all those sayings will I over-swear ; 
And all those swearings keep as true in soul 270 

As doth that orbed continent the fire 
That severs day from night. 

Duke. Give me thy hand ; 

And let me see thee in thy woman's weeds. 

Vio. The captain that did bring me first on shore 
Hath my maid's garments : he upon some action 
Is now in durance, at Malvolio's suit, 
A gentleman, and follower of my lady's. 

Oil. He shall enlarge him : fetch Malvolio hither : 
And yet, alas, now I remember me. 
They say, poor gentleman, he 's much distract. 280 

Re-enter Clown, with a letter, and Fabian. 
A most extracting frenzy of mine own 
From my remembrance clearly banish'd his. 
How does he, sirrah ? 

Clo. Truly, madam, he holds Beelzebub at the 
stave's end as well as a man in his case may do : has 
here writ a letter to you ; I should have given 't you 
to-day morning, but as a madman's epistles are no gos- 
pels, so it skills not much when they are delivered. 

Oli. Open 't, and read it. 239 

265. [Seel. 217.] 

281. extracting = " drawing everything else with it, absorb- 
ing." [(Globe editors.)] 



Scene!.] OR, WHAT YOU WILL. 101 

Clo. Look then to be well edified when the fool 
delivers the madman. \^Iieads.~\ " By the Lord, 
madam," — 

Oli. How now ! art thou mad ? 

Clo. No, madam, I do but read madness : an your 
ladyship will have it as it ought to be, you must 
allow Vox. 

Oli. Prithee, read i' thy right wits. 

Clo. So I do, madonna ; but to read his right wits 
is to read thus : therefore perpend, my princess, and 
give ear. 300 

Oli. Read it you, sirrah. \To Fabian. 

Fab. \_Reads.'] By the Lord, madam, you ■wrong me, and the 
world shall know it : though you have put me into darkness and 
given your drunken cousin rule over me, yet have I the benefit 
of my senses as well as your ladyship. I have your own letter 
that induced me to the semblance I put on ; with the which I 
doubt not but to do myself much right, or you much shame. 
Think of me as you please. I leave my duty a little unthought 
of and speak out of my injury. 309 

The madly-used Malvolio. 

Oli. Did he write this ? 

Clo. Ay, madam. 

Duke. This savours not much of distraction. 

Oli. See him deliver'd, Fabian ; bring him hither. 

[Exit Fabian. 

My lord, so please you, these things further thought 

on. 
To think me as well a sister as a wife, 
One day shall crown th' alliance on 't, so please you, 
Here at my house and at my proper cost. 

Duke. Madam, I am most apt to embrace your offer. 

295. [allow Vox = allow voice, let me shout.J 
299. [perpend = consider attentively.] 



102 TWELFTH NIGHT; [Act V. 

[To ViolaJ] Your master quits you; and for your 
service done him, 320 

So much against the mettle of your sex, 
So far beneath your soft and tender breeding. 
And since you call'd me master for so long. 
Here is my hand : you shall from this time be 
Your master's mistress. 

on. A sister! you are she. 

Be-enter Fabian, with MAiiVOUO. 

DuJce. Is this the madman ? 

Oli. Ay, my lord, this same. 

How now, Malvolio ! 

JMaL Madam, you have done me wrong, 

Notorious wrong. 

Oli. Have I, Malvolio? no. 

Mai. Lady, you have. Pray you, peruse that let- 
ter. 
You must not now deny it is your hand : 330 

Write from it, if you can, in hand or phrase ; 
Or say 't is not your seal, not your invention : 
You can say none of this : well, grant it then, 
And tell me, in the modesty of honour. 
Why you have given me such clear lights of favour, 
Bade me come smiling and cross-garter'd to you, 
To put on yellow stockings and to frown 
Upon Sir Toby and the lighter people ; 
And, acting this in an obedient hope, 
Why have you suffer'd me to be imprison'd, 340 

Kept in a dark house, visited by the priest, 
And made the most notorious geek and gull 
That e'er invention play'd on ? tell me why. 
Oli. Alas, Malvolio, this is not my writing, 

320. [quits = releases from service.] 
342. geek = fool, dupe. 



Scene L] OR, WHAT YOU WILL, 103 

Though, I confess, much like the character : 

But out of question 't is Maria's hand. 

And now I do bethink me, it was she 

First told me thou wast mad ; thou earnest in smiling, 

And in such forms which here were presupposed 

Upon thee in the letter. Prithee, be content : 350 

This practice hath most shrewdly pass'd upon thee ; 

But when we know the grounds and authors of it, 

Thou shalt be both the plaintiff and the judge 

Of thine own cause. 

Fah, Good madam, hear me speak, 

And let no quarrel nor no brawl to come 
Taint the condition of this present hour, 
Which I have wonder'd at. In hope it shall not, 
Most freely I confess, myself aiid Toby 
Set this device against Malvolio here, 
Upon some stubborn and uncourteous parts sso 

We had conceived in him : Maria writ ^ 

The letter at Sir Toby's great importance : 
In recompense whereof he hath married her. 
How with a sportful malice it was follow 'd, 
May rather pluck on laughter than revenge ; 
If that the injuries be justly weigh'd 
That have on both sides pass'd. 367 

OIL Alas, poor fool, how have they baffled thee ! 

348. [thou : Mr. White's reading. The folio has « then," 
which would present the common ellipsis of the nominative.] 

349. [presupposed = imposed beforehand.] 

351. [practice = plot, trick, shrewdly = sharply, severely.] 

361. [had conceived in him: Tyrwhitt's emendation of the 
folio reading, " had conceived against him," which would mean, 
" had taken as offensive in him." The present reading means, 
"had imagined to exist in him ;" the speaker gives Malvolio the 
benefit of a doubt.] 

362. importance = importunity. 



104 TWELFTH NIGHT; [Act V. 

Clo. Why, " some are born great, some achieve 
greatness, and some have greatness thrown upon 
them." I was one, sir, in this interlude ; one Sir 
Topas, sir ; but that 's all one. " By the Lord, fool, 
I am not mad." But do you remember? " Madam, 
why laugh you at such a barren rascal ? an you smile 
not, he 's gagg'd ; " and thus the whirligig of time 
brings in his revenges. 376 

Mai. I '11 be revenged on the whole pack of you. 

{Exit. 

Oli. He hath been most notoriously abused. 

Duke. Pursue him, and entreat him to a peace : 
He hath not told us of the captain yet : 
When that is known and golden time convents, 
A solemn combination shall be made 
Of our dear souls. Meantime, sweet sister. 
We will not part from hence. Cesario, come ; 
For so you shall be, while you are a man ; 
But when in other habits you are seen, 
Orsino's mistress and his fancy's queen. 

[Exeunt all, except Clown. 

Clo. \^Sings.'] 

When that I was and a little tiny boy, 

With hey, ho, the wind and the rain, 
A foolish thing was but a toy, 390 

For the rain it raineth every day. 

But when I came to man's estate, 

With hey, ho, etc. 
'Gainst knaves and thieves men shut their gate, 

For the rain, etc. 

381. [convents == is fitting or convenient.] 

Clown sings. This clown was a singing clown : a functioner 
on Shakespeare's stage whose position was clearly defined. This 
song was one of those with which he was in the habit of amusing 
the groundlings. It is none of Shakespeare's. 



Scene v.] OR, WHAT YOU WILL. 105 

But when I came, alas ! to wive, 

With hey, ho, etc. 
By swaggering could I never thrive, 

For the rain, etc. 

But when I came unto my beds, 400 

With hey, ho, etc. 
With toss-pots still had drunken heads, 

For the rain, etc. 

A great while ago the world begun, 

With hey, ho, etc. 
But that 's all one, our play is done, 

And we '11 strive to please you every day. [Exit. 



SUGGESTIONS FOE SPECIAL STUDY. 

The title Twelfth Night, or What You Will, which may 
at a glance appear meaningless, should in reality convey 
certain intimations to the reader. This is to be a merry 
play, such as might well form part of the customary Christ- 
mas revelry, — for the mirth of Christmas was kept up until 
after Epiphany or Twelfth-Day. And the author at the 
outset lets you see his easy, careless attitude : you may call 
the piece what you will. It is no weighty matter needing a 
formal name, but a happy trifle, presenting pleasant, capri- 
cious persons who are blown to and fro by the winds of 
chance desires as lightly as butterflies. It might indeed be 
called the comedy of caprice ; and this characteristic has 
been ingeniously connected with the sub-title. "It is this 
spontaneousness of emotion in the characters which gives 
propriety to the title What You Will, that is, act your 
pleasure, follow your fancy." (Henry J. Ruggles : The 
Method of Shakespeare as an Artist.) It may seem to 
some readers that this interpretation goes too far, and that 
in the sub-title, as we have suggested, the author simply 
addresses his audience, disclaiming importance for his play ; 
but at least the coincidence is curious and interesting. 

In whichever way we explain the name, it is clear that in 
a comedy so christened Shakespeare is not bound to view 
life unflinchingly and to depict it faithfully. The only 
artistic necessity is that the piece shall throughout conform 
to the law of its own being. " Any story can be made true 
in its own key,' wrote Stevenson ; and he regretted the too 
great realism of some passages in Prince Otto, " which dis- 
prepares the imagination for the cast of the remainder." 
Here nothing must clash with the light and lovely lute- 



108 SUGGESTIONS FOR SPECIAL STUDY. 

music of romance ; hearty laughter may at times rise above 
it, but no real discord must be produced. 

What Shakespeare would ask of us, in our reading of 
Twelfth Night, is a holiday mood corresponding to his own. 
It is best to read the play through at a sitting, if possible, 
paying little or no attention to the notes ; and afterward to 
enjoy it more slowly, dwelling on each scene and each line, 
and studying in clear light each dimly apprehended detail. 
But we must never lose the living charm of such a piece 
by working too hard over it. If we do that, we shall 
defeat Shakespeare's main purpose in his comedies. To 
find what this purpose was, look at the last line of the epi- 
logue, and also at the epilogues of Midsummer Night's 
Dream, All's Well That Ends Well, and The Tempest; 
you may there discover what he wished to do and how he 
feared to fail. It is true that these after-speeches or after- 
songs were sometimes, as in the present case, not composed 
by Shakespeare himself ; but we may assume that they 
were acceptable to him, as expressing, on the whole, what 
he wished to express to his public. 

By its quaint sub-title Twelfth Night connects itself with 
another of the set of plays which Dr. Furnivall has called 
" the sunny or sweet time comedies." (If you are not yet 
familiar with the time-groups in which Shakespeare's dra- 
mas may be approximately placed, you wiR find it profitable 
to learn them.) The phrase As You Like It seems to mean 
much the same thing as What You Will. The plays are 
somewhat alike, and yet there is a noticeable difference be- 
tween them. We feel it in the very first scene of each. 

Act I., scene i. We know that it is Shakespeare's way to 
strike at once the keynote of the piece. (See As You Like 
It, Riverside Literature Series, p. 107 ; Hamlet, same 
series, pp. 174, 175 ; Macbeth, same series, p. 100.) As 
You Like It begins in an orchard, and it begins briskly. 
Twelfth Night begins in a rich apartment, and it begins 
broodingly. Carry out this hint for yourself, in contrast- 
ing Orlando and Orsino, and grasping the delicate differ- 



SUGGESTIONS FOR SPECIAL STUDY. 109 

ence between Rosalind and Viola. Try to make clear 
in your own thought what is meant by the " atmosphere " 
of a play. What adjective is used by the Duke four 
times in this short scene, and what effect results? What 
is the basis of Orsino's love for Olivia ? Is it likely to be 
lasting? Confirm the conclusions reached from Hues 19- 
23, by reference to two passages in Act II., sc. iv. How 
old a man is Orsino ? (See the scene just referred to, but 
also Act I., sc. V.) Can you already discern a resem- 
blance, in one particular, between him and Olivia? In 
lines 7 and $ the Duke presents the first instance of that 
changeableness on which we have commented as a charac- 
teristic of the persons of the play. Note as you proceed, 
in each scene, the quick changes of desire or intention. 

In scene ii., however, Viola shows no unsteadiness of 
purpose or of mood ; she is only considering what may be 
the best course to pursue. In line 29 she seems to feel a 
momentary hope that the Duke has married ; if so, she may 
serve his duchess. The next step is natural ; since he seeks 
to make Ohvia his duchess, — and since she is drawn to- 
ward Olivia by a similarity of sorrow, — she would serve 
that lady. Disappointed in this, she adopts the plan of dis- 
guise, which has now become essential. (Compare care- 
fully the action of Rosalind, As You Like It, Act I., sc. iii.) 

It would, indeed, be useless to look for variability in 
Viola. In her pure steadfastness of unselfish feeling she 
supplies the high light of the picture, no less truly than 
Cordelia supplies it in King Lear. It does not follow 
because Shakespeare is keeping holiday that he is the less an 
artist ; he selects and models, contrasts and balances, with 
the same swift skill in his lighter as in his graver mood. 

Read aloud lines 3 and 4, for the sake of their charming 
melody ; note also the Elizabethan tendency to play upon 
hke sounds. Where did you find it in sc. i. ? 

Scene iii. Shakespeare's first audiences, it will be re- 
membered, had to imagine their own scenery, aided by little 
more than a sign-board. In reading a play we are in much 



110 SUGGESTIONS FOR SPECIAL STUDY. 

the same position, and must make a similar effort. It 
should not be hard for us to image to ourselves Qrsino's 
luxurious environment in the first scene, or the wild sea- 
shore after storm in the second ; the Lady Olivia's hall with 
its great fireplace, and table shining with tall flagons, or 
her green-bordered garden full of sunny walks and fan- 
tastically clipped box-trees. In like manner we must try, 
helped by the hints distributed in the text, to make the 
persons real to the imagination. Orsino and Olivia, Viola 
and Sebastian, we understand to be beautiful, instinctively 
accepting the convention in regard to the principal char- 
acters ; can you, in each case, prove this to be true ? Of 
Sir Toby's appearance we learn little ; something, by im- 
plication, of his clothes and boots. (We may guess at 
the half-befogged roguishness of his eye.) What warrant 
is there for a stage tradition representing Sir Andrew 
with long, straight, light hair ? By what passages may 
we make sure that Maria was tiny and bird-like ? With 
what official accessories must we equip Malvolio and the 
Clown? Prove from Act III., sc. iv., that the former is 
an eminently respectable person, of dignified appearance. 

In this scene we find Shakespeare's wit and humor in full 
flow. (For a fine distinction between these quahties, see 
E. P. Whipple, Literature and Life.) Wit is present in 
this play in the forms of ingenious punning (see examples 
in sc. iii.), brilliant epithet, epigram, paradox, and repartee. 
But there is, in contradistinction to all these, a kind of 
piquant nonsense hard to classify, resulting frona an unex- 
pected and wholly absurd perversion of thought or language. 
It is akin to wit in its element of mirth-provoking surprise, 
but alien in its lack of significance. It startles us, not by 
throwing a sudden flash of colored light upon a word or 
idea, but rather by leading, with a plausible air, up to a 
blind wall. This contrived inconsequence is true '"fool- 
ing ; " and it is, as one might suppose, abundant in a com- 
edy so light-hearted as Twelfth Night. Distinguish through- 
out between the two types of laughter-moving speeches. 



SUGGESTIONS FOR SPECIAL STUDY. Ill 

Humor, as a quality of the mind affecting the style, may 
be defined as an amused and more or less indulgent percep- 
tion of the incongruities of life. It presupposes, in varying 
proportions, keenness and sympathy, or at least so much 
of intellectual sympathy as shall let one into the secret of 
another's feeling ; we perhaps imply its natural connection 
with kindliness in our term " good humor." It is felt in the 
author's treatment of his characters ; Shakespeare handles 
a fool, of the non-professional sort, as lovingly as Izaak 
"Walton would a trout. It is also shown in the arrangement 
of groups and the contriving of situations. Shakespeare's 
humor led him to conceive, with enjoyment, the relation of 
Maria, the sharp little scolding wren, to the incorrigible 
Sir Toby, the relation of Toby himself to the wistfully imi- 
tative Sir Andrew, and the contrast between the whole 
group and Malvolio. Lastly, humor may appear as an 
attribute of the characters themselves, as in the cases of 
Toby and Maria, Feste and Fabian ; in these it is more 
keen than sympathetic. Emerson has called it " an orna- 
ment and safeguard ; " observe that a certain rueful humor 
keeps Viola from too much dangerous self-pity, as she con- 
templates her own position in Act II., sc. ii. Note also that 
it is the quality Malvolio most lacks, as his speeches in Act 
I., sc. iv., reveal. Olivia tells him that he has no sense of 
the relative importance of things ; he takes everything seri- 
ously. We have pointed out that the best humor is allied to 
good-will. What does Shakespeare intimate, by his choice 
of a name for the precise and egotistical steward ? (For 
the direct antithesis, see Romeo and Juliet, Act I., sc. i.) 

Scene iv. Viola has been three days at the court of the 
Duke, and already she loves him. This swiftness of emo- 
tion is even exceeded in the case of the Duke himself (Act 
I., sc. i., line 21), and that of Olivia (Act I., sc. v.). It 
would be a mistake to consider facility in falling in love 
as illustrative of the characteristic capriciousness of the 
persons in Twelfth Night. Compare As You Like Lt, 
Act I., scenes ii. and iii. ; and Romeo and Juliet, Act I., 



112 SUGGESTIONS FOR SPECIAL STUDY. 

sc. V. The explanation is rather that Shakespeare's men 
and women really belong, in spirit, to the Renaissance ; a 
period when, it seems, time galloped, and readiness of 
feeling was coupled with rashness in action. Some allow- 
ance must also be made for the necessary compression of 
drama. Notice Viola's two attempts to evade the commis- 
sion thrust upon her. Account for the brevity of her final 
promise. What do you conjecture to be the gromid of 
her love for the Duke ? In determining this point, consider 
lines 13 and 14. 

Scene v. It is interesting to compare Feste with Touch- 
stone in As You Like It. All Shakespeare's jesters are 
alike in two respects : they are really clever men ; and they 
half disguise their cleverness under the convention of frag- 
mentary and whimsical speech, as if thought were broken 
into iridescent pieces. (See As You Like It, Act II., sc. vii., 
lines 38-42.) From what has been already said, you might 
expect to find Feste the less coherent in his method ; decide 
for yourself whether this is true or not. What difference 
is suggested by the meanings of their names ? One is 
threatened with whipping, the other, playfully, with hang- 
ing — for what different offences ? Should you not be sur- 
prised to find Touchstone singing ? (Notice that Feste's two 
songs, in Act II., scenes iii. and iv., are, each after its own 
fashion, in perfect keeping with the spirit of the play, — the 
one being as unrestrained in its expression of epicurean 
enjoyment as the other is in its self-indulgent melancholy.) 

Mark the brave semblance of gayety with which Viola rises 
to the emergency, the little innuendo by which she snatches 
a second's compensation for her hard commission, and the 
frank praise of her rival in which her generosity reasserts 
itself. From this point she wooes in eloquent earnest for 
her master ; how do you explain the change ? Shakespeare 
emphasizes it by a change of form in the dialogue. Oli^da 
holds out, in the lighter mood, for one more prose speech, 
but presently falls under the spell of Viola's strong feeling, 
and answers in kind. What does Viola's genuine anger, 



SUGGESTIONS FOR SPECIAL STUDY. 113 

lines 290 et seq., show in her ? What is the basis of Olivia's 
love for Cesario ? She justifies her helpless yielding to 
emotion by a couplet of fatalistic philosophy. Are we to 
conclude that Shakespeare held this view of life ? Compare 
All 's Well That Ends Well, Act I., sc. iii., lines 231-234. 
It is clear that neither passage can be insisted upon as 
conveying the author's own belief. A dramatist expresses 
his ideas of life by the general trend of his plays ; we may 
sometimes draw a conclusion from a single play or scene, 
but not from the utterance of a single character. 

Act II., scene i. There is a beautiful courtesy, a just 
combination of affection and reserve, in those scenes of 
Shakespeare which present manly friendship. It seems 
that the love of comrades played an important part in his 
notion of the goodly world. Compare with the present 
instance the relation of Antonio and Bassanio, in The Mer- 
chant of Venice, and note the coincidence in the name of 
the elder friend. 

Scene ii. Compare Viola's feeling and behavior, on 
grasping the strange situation, with that of Rosalind, As 
You Like It, Act. iii., sc. v. 

Scene iii. By so idealizing this scene of revelry that all 
possible repellent elements have been refined away, and 
there is nothing left but irresponsible fun, Shakespeare 
has prepared us to look with indulgence upon the mirthful 
revenge of the interrupted revellers. Some actors show a 
want of discrimination in emphasizing points untouched by 
the author ; realism would here be fatal to the effect desired. 
In real life, no doubt, we should range ourselves on the side 
of the worthy steward, in spite of his unwinning traits ; but 
we have yielded our imaginations to Shakespeare's, and he 
has led us into a dreamland of merry misrule, a dukedom 
of reversed proprieties, where regularity runs counter to an 
unwritten law, and to be perfectly reasonable is ridiculous. 
The dramatist has his own way and time of dealing seri- 
ously with the subject of drunkenness (see Othello, Act IL, 
sc. iii.) ; but he is about no such business now. If he has 



114 SUGGESTIONS FOR SPECIAL STUDY. 

anything to hint to us between laughs, it is that even an 
excellent person may be too unctuous in his reproof of the 
evil-doer. What speech of Sir Toby's exactly hits Malvo- 
lio's mental attitude ? 

It has been acutely observed that the mainspring of char- 
acter is actually the same in the refined Orsino as in the 
rollicking Toby. {The Method of Shakespeare, etc) Con- 
sider this observation, supplementing it by the axiom of 
Emerson ; "It matters little in the long run whether our 
dissipations be coarse or fine." 

We need not inquire further into the facts concerning 
Pigrogromitus and the Vapians, nor into the connection 
between Malvolio's nose and a whipstock, or between the 
Myrmidons and bottle-ale houses. Sir Andrew praises 
whatever he cannot fathom, and the jester is shrewd in 
supplying a demand. 

Scene iv. Notice that Feste has for the Duke a style of 
jesting quite different from that adapted to Sir Andrew. 
(See Viola's remarks. Act iii., sc. i., lines 55-63.) What 
speech of Feste's in this scene not only shows his sagacity, 
but strikes a note characteristic of the piece ? 

When some person of the play is ignorant of facts known 
to the reader or the audience, and therefore speaks or acts 
in a strikingly inappropriate way, — as the Duke does in 
his dialogue with Viola, — we have dramatic or constructive 
irony. The incongruity produced may be humorous, as it is 
in the case of Malvolio, Act III., sc. iv. ; or, if painful, it 
may be exceedingly pathetic, as it is here. The suspense 
created by Viola's approach to a subject so vital to her is 
gradually replaced by admiration of her exquisite deftness 
in confessing and concealing at the same time. We are 
made aware of a certain arrest of the Duke's attention as 
Cesario tells his sister's story; for a moment Orsino is 
vaguely moved, and it is Viola herself who recalls him to 
" the theme." — Lines 30-40 have been supposed to set forth 
Shakespeare's regret for his own marriage with a woman 
older than himself. But see note on the closing lines of 



SUGGESTIONS FOR SPECIAL STUDY. 115 

Act I., sc. V. ; and further, contrast with the whole of the 
passage under consideration Sonnet cxvi. 

Scene v. Charles Lamb, in his essay " On Some of the 
Old Actors," gives the following account of Bensley's im- 
personation of Malvolio : — 

" [He] threw over the part an air of Spanish loftiness. 
He looked, spake, and moved like an old Castilian. . . . He 
was magnificent from the outset ; but when the decent so- 
brieties of the character began to give way, and the poison 
of self-love, in his conceit of the Countess's affection, grad- 
ually to work, you would have thought that the hero of La 
Mancha in person stood before you. How he went smil- 
ing to himself ! with what ineffable carelessness would he 
twirl his gold chain ! What a dream it was ! You were 
infected with the illusion, and did not wish that it should 
be removed ! . . . You felt that an hour of such mistake 
was worth an age with the eyes open." 

Are Malvolio's day-dreams chiefly connected with Olivia's 
supposed love, or with his own advancement ? 

Act III., scene ii. Toby's double motive for detaining 
Sir Andrew, as a source of amusement and of revenue, is 
here made plain. The quarrelsome disposition of the fool- 
ish knight was touched upon in Act I., sc. iii., and briefly 
demonstrated in Act IL, scenes iii. and v., in preparation 
for this part of the action. 

On reaching, in a second reading. Act II. , sc. i., we may 
begin to watch the practised playwright as he lightly weaves 
into a single braid three distinct strands. The Duke, Olivia, 
and Yiola he has, in the introductory scenes, placed in one 
group ; Sebastian and Antonio form another, and the un- 
derlings of Olivia's household a third. The first and second 
are closely connected, the twin action concerning Sebastian 
running on, in the background, parallel with that concern- 
ing Viola, until Act III., sc. iv., where the natural error 
of Antonio crosses the threads ; the complication, strength- 
ening in Act IV., scenes i. and ii., brings about a general 
bewilderment in Act V., where the knot is untied — - by 



116 SUGGESTIONS FOR SPECIAL STUDY. 

what incident ? Meanwhile Viola's story proper has gone 
on increasing in interest with the growing extravagance of 
the Duke's conduct (culminating where ?) and her own 
deepening love (reaching its highest expression at what 
point?), and the emotional problem is solved at last by 
the same incident which solves all the puzzles of mistaken 
identity. The consequent revelation of Viola's sex, throw- 
ing new light upon the page's devotion, suddenly frees 
the Duke from the enchantment of his dream-passion, and 
turns his real tenderness for Cesario into an answering ardor. 

With his third group Shakespeare carries on a subordinate 
action, connected with the principal from the beginning by 
the figure of Olivia, indispensable to both : the effort of 
Toby to detain Sir Andrew by any means that may come to 
hand. Developing into the quarrel with Cesario, this slen- 
der thread is drawn into the main complication in Act III., 
scene iv., and loosed by the final incident already referred 
to, in Act V. 

Of this subordinate action, the scheme concerning Mal- 
volio is seen on analysis to be but a vigorous episode. " The 
whole plot against Malvoho may be regarded as une petite 
comedie, in which he is made to assume a costume and act 
a part for the amusement of the other characters. ... It 
is almost a play within a play." (The Method of Shake- 
speare, etc.) Notice the final connective contrivance by 
which Shakespeare, in Act V., draws attention to the affair 
of the deluded steward (lines 274-277). 

It would be beyond the license of even this type of drama 
to represent " the madly used Malvolio " as immediately 
reconciled to his persecutors ; but we may have confidence 
in the power of Olivia and the Duke to bring about the peace 
that they evidently desire (lines 378, 379). And we must, 
further, remember that some varieties of egotism have a 
fortunate property of elasticity and self-healing. 

The blithe tinkle of the fool's bells is the last sound left 
in our ears ; hard knots are untangled, " golden time con- 
vents," and " journeys end in lovers meeting." We need 



SUGGESTIONS FOR SPECIAL STUDY. HI 

look for no moral lesson in Twelfth Night. Some things 
as good we shall find without search. " Every gay, every 
bright word or picture, like every pleasant air of music, is 
a piece of pleasure set afloat ; the reader catches it, and, if 
he be healthy, goes on his way rejoicing." ^ 

1 Kobert Louis Stevenson : Letters, vol. i., p. 432. (Scribners, 1899.) 



APPENDIX. 

AN ARRANGEMENT OF SCENES FROM TWELFTH NIGHT 
FOR THE PRIVATE STAGE. 

In this arrangement, each act ends, after the modern 
fashion, with an effective situation, and the omissions do not 
prevent a continuous and orderly movement of the play. 
For those who desire a liberal stage-setting, the arrange- 
ment provides for three full sets and two drops ; the han- 
dling, however, is quite simple, as all changes can be made 
between the acts, and the only scene which requires trim- 
ming the stage is the first set. 

Act I. 

Scene 1. An apartment in the Duke's Palace (drop at 
front). 

[Act I., Scene 1, to line 23, " E'er since pur- 
sue me." Then Act I., Scene 4, line 10, 
" Who saw Cesario, ho ? " to end of scene.] 

Scene 2. A Room in Olivia's House (full set). 

[Act I., Scene 3 ; Scene 5 from " Enter Olivia 
and Malvolio."] 

Act II. 

Scene 1. A Street near Olivia's House (drop at front). 

[Act II., Scene 2.] 
Scene 2. Same as Act I., Scene 2. 

[Act II., Scene 3.] 



Act III. 

Scene 1. Same as Act I., Scene 1. 
[Act II., Scene 4.] 



120 APPENDIX. 

Scene 2. Olivia's Garden (full set). 

[Act II., Scene 5 ; Act III., Scene 1, from 
*' Enter Sir Toby and Sir Andrew."] 

Act IV. 

Scene 1. The same. 

[Act III., Scene 2, to " Exit Sir Andrew," 
for which substitute the direction " exeunt ; " 
Scene 4 through " Sir And. Nay, let me 
alone for swearing."] 

Scene 2. Same as Act II., Scene 1. 

[Act II., Scene 1 through " Let me be your 
servant ; " Act III., Scene 3, from " My 
kind Antonio."] 

Scene 3. Same as Scene 1. 

[Act III., Scene 4, from " Olivia. I have said 
too much unto a heart of stone ; " Act IV., 
Scene 1, Scene 2, Scene 3.] 

Act V. 

Street before Olivia's House (full set). 
[Act v., Scene 1.] 



LIST OF CHARACTERS IN THE PLAY, WITH THE SCENES 
IN WHICH THEY APPEAR. 

The numbers in parentheses indicate the lines the characters have in each 

scene. 

Duke : I. 1 (31), 4 (27) ; II. 4 (69) ; V. 1 (94). Whole 

number 221. 
Sebastian : II. 1 (36) ; III. 3 (20) ; IV. 1 (17), 3 (23) ; V. 

1 (32). Whole number 128. 
Antonio: II. 1 (13); III. 3 (33), 4 (33); V. 1 (28). 

Whole number 107. 
Captain: I. 2 (32). Whole number 32. 



APPENDIX. 121 

Valentine : I. 1 (9), 4 (5). Whole number 14. 

Curio : I. 1 (2) ; II. 4 CS). Whole number 7. 

Sir Toby: I. 3 (67), 5 (7) ; II. 3 (63), 5 (44) ; III. 1 

(7), 2 (36), 4 (144) ; IV. 1 (10), 2 (13) ; V. 1 (7). 

Whole number 398. 
Sir Andrew: I. 3 (53) ; II. 3 (51), 5 (15) ; III. 1 (7), 2 

(12), 4 (18) ; IV. 1 (7) ; V. 1 (20). Whole number 183. 
Malvolio: I. 5 (35); II. 2 (14), 3 (20), 5 (115); III. 

4 (58) ; IV. 2 (45) ; V. 1 (19). Whole number 306. 
Fabian : II. 5 (33) ; III. 2 (25), 4 (40) ; V. 1 (30). Whole 

number 128. 
Clown : I. 5 {m) ; II. 3 (33), 4 (29) ; III. 1 (42) ; IV. 1 

(20), 2 (77) ; V. 1 (77). Whole number 344. 
Priest : V. 1 (8). Whole number 8. 
1st Officer : III. 4 (6) ; V. 1 (6). Whole number 12. 
2d Officer : III. 4 (4). Whole number 4. 
Servant: III. 4 (4). Whole number 4. 
Olivia: I. 5 (127) ; III. 1 (54), 4 (45) ; IV. 1 (16), 3 

(12) ; V. 1 (67). Whole number 321. 
Viola : I. 2 (34), 4 (13), 5 (75) ; II. 2 (28), 4 (32) ; III. 

1 (69), 4 (56) ; V. 1 (46). Whole number 353. 
Maria : I. 3 (31), 5 (25) ; 11. 3 (41), 5 (20) ; III. 2 (17), 

4 (29) ; IV. 2 (6). Whole number 169. 



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Part II. (No. 65.) 

The Merchant of Venice. Macbeth. 

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King Lear. The Taming of the Shew, 

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The Comedy of Errors. Hamlet. 

Twelfth Night. Othello. 

Timon of Athens. Vocabulary. 

Romeo and Juliet. 

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Mr. Grant White combines the qualifications of a perfect editor of Shakespeare 
in larger proportion than any other with whose labors we are acquainted. He has 
an acuteness in tracing the finer fibres of thought worthy of the keenest lawyer on 
the scent of a devious trail of circumstantial evidence ; he has a sincere desire to 
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ciates the importance of rhythm as the higher mystery of versification. The sum of 
his qualifications is large, and his work is honorable to American letters. — James 
Russell Lowell. 



EDITED BY 

RICHARD GRANT WHITE. 

With Glossarial, Historical, and Explanatory Notes. 

In Six Volumes : I. -II. Comedies. III.-IV. Histories and 
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Fi-om Harpei-^s Monthly, December, 1883. 
His introductions are marvels of terseness, and yet contain everything that an 
intelligent reader cares to knovr ; his glossarial, historical, and explanatory notes 
are brief, luminous, and directly to the point ; his text is as perfect as the most in- 
dustrious research and painstaking study could make it ; and the concise and excel- 
lent life of Shakespeare which he has prefixed to the first volume sets forth every 
fact that is really known with regard to the life, character, disposition, habits, and 
writings of the poet. By reason of its convenient size, its judicious arrangement, 
its thoroughly trustworthy text, and the wise reserve with which it has been edited 
and annotated, this serviceable edition deserves, above aU other editions with 
which we are familiar, to be made the favorite companion of the man of letters in 
his study, and of all readers of cultivated literary taste in the seclusion of their 
libraries, or in their hours of leisure. 

From the New York Tribune. 

As an edition for general use, the Riverside Shakespeare must take its place at 
once in the very front rank. . . . The notes are always brief, but they are abun- 
dant and satisfying. The editor's acquaintance with the literature and history of 
Shakespeare's time and the materials from which he freely borrowed gives these 
short notes a surprising clearness, precision, and completeness. They are never 
pedantic. They really illuminate the text. They make the Riverside Shakespeare, 
so far as the work of the editor goes, probably the most comfortable of all editions 
to read. 

From, the lAverpool Post. 

The first Shakespearean scholar in America is probably Mr. Richard Grant White. 
He is a scholar, a thinker, a critic, a high aesthetic authority, and an elegant essay 
writer, — in his way almost a genius. 

From the Nation. 
He possesses a rare faculty of delicate and acute literary criticism and insight, 
combined with a hardly less rare faculty of expressing fine distinctions of thought 

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